El Camino #17 English

When you teach something else that is not your specific art, do you say where did it come from?

Achieving the expansion of the Song Moo HapKiDo of the International Song Moo Kwan HapKiDo Federation through the technical director SabomNim Ramón Navarro 6th Dan based in the Republic of Panama in support of the KwanjangNim Park Song IL is also a member of the Korea HapKiDo Federation as Panama Branch.

as TangSooDo among the Korean arts, but in the various KungFu most are hard, that is, linear and the soft ones more tend to make their application in a circular way. The best known KungFu suabes are TaiChi Chuan, Bagua Chuan and Ching I Chuan.

basically are more or less 21 kicks that are the ones that are trained daily all together by beginners with the most advanced. Then the blocks and then the various strikes. In the correct order, one ends up doing the falls and stunts that can be said are not requirements because if a person or student of HapKiDo does not have the ability to do these stunts, they may not only become a black belt or higher rank.

After the HapKiDo hand there are other activities that belong to learning, which are the techniques that the art must use to advance in rank and include in the defense blows, breaks better known as dislocations, projections or throws and sweeps, as well as defenses with kicks. Then there is the combat. Weapons are taught in many schools before black belt, but they must be learned from Cho Dan or First Dan up to Dan or Black Belt grades.

All martial arts in general have something similar in themselves, but I will specify that they are divided into two types, hard and soft. It is not really that they are hard or that they are soft, but it is accepted that the soft in Japanese type are JuDo, Jujutsu and Aikido that to say when defending or attacking they do not do it as they say force against force. These are known as the hard ones, such as Karate or Taekwondo, among others, as well

Well, there are the hybrid arts that I will only mention the HapKiDo and it is linear as well as circular. This martial art contains everything except that in some schools the teachers have not learned everything completely and other teachers who do, choose what they like and that is what they teach.

Correctly it is not that the others are not learned correctly, but some focus more on some things than others.

HapKiDo actually covers how I call this activity formally they do

The HapKiDo Hand or 5 segments that are the stretches that include calisthenics with exercises standing up as well as sitting and even lying down as one of the 5 fingers of the hand. Another finger is the kicks that

In all martial arts there are what can be said are weaknesses, that is, something is missing because there are 4 distances that are the distant where you can defend yourself or attack kicks. The medium distance where you can use the hand strikes mostly also the short distance

WHEN YOU TEACH SOMETHING ELSE THAT IS NOT YOUR SPECIFIC ART, DO YOU SAY WHERE DID IT COME FROM?

Sbn Ramón Navarro

where you can apply obstacles, that is when you are standing and there is the melee distance when the moment comes when the fight came to be lying on the ground. Many teach it as that is all they need to learn, but the truth is that it should not be forgotten that the hard arts use the distances where there is no fighting and the soft arts mostly seek to reach the short distance and the ground. Each one may not know what to do if they reach this state in the fight and do not know or do not have applications to use to defend themselves properly, whether they do not have them or have not learned them.

There are other masters who see some application of another martial art, well it does not have to be considered a martial art such as wrestling or boxing that can also be learned more than for sports or they seem things that would not be based on the rules of that sport, that is, they are for self-defense. They incorporate them into their repertoire, but they do not tell their students that since people are not perfect, but they can improve, they use them in their curriculum as

their own. This must not be so.

If a martial art is linear or hard and you don't use many high kicks and you find use for some high kicks and incorporate them into your repertoire you should tell your students that this technical application can help in such a situation and you will teach them and let them know they won't come in exams unless it is known to make a distinction that they should be taught at that type of stage and not before. Also, those who use high kicks that can use a certain low kick in self-defense situations and if they are sports-oriented these cannot be used in tournaments or competitions. As in boxing itself you can copy kicks for the short distance, even in martial arts you can copy things from boxing, etc.

I don't know if the purity of a martial art deteriorates if things that are not usual in that system are mixed into it. Now in entertainment sports such as MMA they say they are MMA black belts which is not logical because Mixed Martial Art is a method of fighting not a martial art so to speak or to understand you can get rank from that activity as I have heard that there is a black belt in Kick Boxing, which is not true

either.

What I believe is that the martial art should be respected and not fail the students that one has by giving ranks or buying ranks that are not logical as I see they are shown as a doctor of combat arts that does not exist either. It is not really worth saying that there is everyone because they would be deceiving students as well as parents who are the ones who pay for their children's classes and even inventing such ranges that chronologically the numbers do not add up. We are going to leave it there because if I continue it may bother someone, which is not my intention, but the truth is that this is a fever that is running around the world.

CAPTAIN FANTASTIC

Maestro Jesús Ricardo Félix

Celluloid: Captain Fantastic

In his novel Walden Dos, renowned psychologist Frederic Skinner describes a utopian society. In it, the problems that arise are solved through science. The main objective of such a community is to achieve the happiness of the individual while he functions as part of a collective.

In this novel Skinner presents us with part of his theories and desires where the individual will be able to work on what he likes the most, developing his potential. Community members are self-sufficient, not dependent on large corporations for food, shelter, security, health, or education. Their relationship with nature is one of mutual respect, using only those resources necessary for subsistence. Now, this is nothing new, throughout history there have been models of societies with an alternative lifestyle that try to separate themselves from traditional models. The hippie ideology in the sixties was translated into the practice of a simple life and a rejection of the government in its traditional form. Thinking about this theme is that we will talk about the movie Captain Fantastic.

Captain Fantastic, by its Spanish name, is a 2016 American film directed by Matt Ross. Ross is a screenwriter and director recognized for working alongside filmmakers such as John Woo and Martin Scorsese. The film stars actor Viggo Mortensen

who plays the complex Ben Cash. Ben is an idealist, an activist and an intellectual who, together with his wife Leslie, carried out the dream of becoming independent from the American way of life. Together they planned and built a commune to raise their children with a different lifestyle where nature is the main provider. However, paradise is interrupted with the death of the woman, her mental illness prevents her from continuing her treatment away from hospitals, so Ben and her family must fend for themselves.

The children are physically and intellectually trained to survive in a hostile environment where they learn about hunting, gathering and planting fruits. As if that were not enough, Ben indoctrinates them in theories of left wing ideologies from an early age where they learn about Marxism, Trotskyism or Maoism. His relatives do not understand that Ben clings to raising his children in the open sky, but it is shown how children raised in the city are addicted to electronics and video games of extreme violence. Ben seeks to alienate his children from the sick culture that the capitalist system represents, but in doing so he also deprives them of their assets.

Definitely recommendable, Matt Ross is an atheist who seeks to question or describe the contradictions that can arise when trying to "live outside the

system". He sometimes handles the subject with humor, such as when the family celebrates Chomsky instead of the traditional capitalist Christmas celebrations. There are also moments of drama, such as when his children are exposed to a society that considers them "freaks." The writer likes irony and chooses the last name Cash (cash) to Ben's family. The characters reflect that despite living on the margins, at times they need the benefits and comforts that the system provides. What do you think? Could they live on the fringes of society? Will we see alternative lifestyles more and more often? The film closes with a classic Bob Dylan theme that more or less says:

So I remember all the faces of all the men who put me here I see my light come shining from the west to the east Any day now, any day now I'll be set free

Youtube Trailer: https://www.youtube. com/watch?v=6e7HYW0F03U

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

A MISFORTUNE FULL OF OPORTUNITIES...

SBN Javier Acosta

A misfortune full of opportunities...

Unfortunately, the methodology and didactics traditionally followed by children is very different from the teaching system that is developed with adults, yes, half portions, without taking into account that it is not about teaching karate to short men, but to use it. . of the pull that discipline exerts on young children at a time of maximum receptivity and impossibility of making us participants and coresponsible for their education. A controversial aspect is the one that tries to find and define the role of karate in childhood. If we start from the need to define what karate is, we discover that each of us has developed his own understanding of what karate is for him: a spiritual path, a sport, a martial art, a lifestyle, a discipline. , a sense of self. defense system, cultural expression, physical training method,... Zen in movement,

etc. On closer analysis, most of these terms contain qualities that exclude others. It is possible that all these understandings prevail in a certain historical moment or environmental situation. Currently, the majority agrees with the idea of karate, which tries to unite all the previous definitions, considering that these and others are nothing more than attributes of the same reality, far from being mutually exclusive, but rather complementary, for which very different. people can find appropriate channels in Karate to satisfy their concerns.

From this point of view, it can be concluded that Children's Karate is essentially a series of exercises based on the gestures of traditional and sports Karate, which have applications in childhood and whose purpose is to help the child to know his qualities. , using body skills and the ability to move through play, motor skills and dynamic expression as a way to promote

your full development as a person.

Finally, the present ends with a saying that says: the three great doctors are: "NATURE, TIME AND PATIENCE" and in karate at the child level, we must dedicate the available time with the greatest patience, so that the child is well. it runs naturally because there it is shown as it is, not as we want it to be, revealing its own unique personality.Limits of Karate for Children.

Under this name we expect a group of karate fighters under 15 years of age, who represent the most important nucleus of our sport in the entire republic, both in number and in social importance. As in other fields of education, teachers of martial arts have for too long lacked the professional training necessary to achieve the lofty goals they have achieved, and have merely repeated the teaching models to which they themselves have come. been subjected, models to which they were subjected. on whom were many cases based. to clear

military training plans developed in a barracks environment and suitable for training large groups, which lacked a minimal psychopedagogical basis and in no case took individual characteristics into account. Thus, the problem of teaching martial arts is aggravated in relation to the world of children, which, as we have already pointed out, is the most important and requires, along with the ambition to earn fair money, part of the teacher's work. . the activity is purely professional, which does not require high technical knowledge, but does require a deep understanding of the child's personality and a sincere desire to enjoy their work. Effective self-defense system

· Psychomotor coordination · Agility, reflexes and reactivity

· Explosion of energy · Disinhibition · Discipline

· Ability to concentrate · Intuitive development · Selfcontrol · Will and unwavering faith · Humility and tolerance

· Responsibility · Creativity.

· Sense of friendship, respect for classmates and teachers, family and society in general.

It is good for the child to start planned physical activity as soon as possible, because it has been proven that part of learning requires early stimulation.

If we take early childhood education as an example, children start school activity at the age of 3, when they are expected to have achieved a minimum level of autonomy from their parents. Therefore, if this activity can start at the age of 3years and can continue until 1 years, it is clear that it is not a group of homogeneous characteristics, so the stages of development must be studied and considered. From a general point of view, we propose to write down the following divisions: Level 1: 3 or years to 6 years Level 2: 6 or 7 years to 9 or 10 years Level 3: 9 or 10 years to 12 years Level 4: 11 or From 12 years to 13 years It favors the knowledge, perception and functionality of your body, recognizing its possibilities and limits, helping you to structure and accept your body image. Promotes the child's sociability by fostering group relationships and communication, encouraging the search for psychosocial experiences in various situations, as well as cooperation and trust between them and resistance based on clear and accepted rules that help him in his relationships

with himself and with the others.

* Directs student interest in positive behaviors and habits that promote health and wellness.

* Optimizes the development of motor skills and basic observation skills.

* Acquire special abilities and skills.

* Improve physical attributes according to each stage of the child's development.

* Promotes expansion and hedonism.

* Compensates for movement needs and releases the child's emotional tension.

* Provide codes and technical tools necessary for the development of personal defense and personal security skills. Allowing nature to be our guide will make our preparation a success.

Best regards.

JUDO FOR LIFE

Prof. Marcelo Ehrlich

Hello reader friends of the Martial Arts magazine "El Camino".

In this new installment, we continue a little more with the theme of the "Favorite technique or technique special”, or the one that works best for me, the one that gives me the most results, the one that is most difficult to annul my rivals, even knowing that it is what I almost always do. And we already talked about the cost of training for "that" technique, as for any other, so that it comes out perfect, forceful and that they cannot block, dodge or counterattack it. We never stopped to think, in the thousands of repetitions that we have done through the years of training, seeking continuous improvement, applying the theory of movement, the study of applied physics, energy management. Today with scientific and specific training methods for what we are looking for, with Specialized teachers and trainers, who enhance our competitive Judo, at levels higher and higher. I always say that

surely, no great champion does thirty/forty years old, I could beat one of the current ones, everything is changing and you cannot be doing the same as back then. Today you run faster, you jump further, more high, swim faster, lift more weight, throw the javelin, the discus, the bullet, farther than before The scientific study applied to each activity allows to break the records, and also the invaluable contribution of sports medicine, nutrition, psychology, sociology, makes people more careful and better prepared. The increasingly friendly sports materials and specific, the training places well organized, hygienic, and adapted to each activity, also contribute to that remarkable change in everything. When we talk about the technical repetitions of any complete throw (Kuzushitsukuri-kake / Imbalanceentry-fall), what do I do to fix the entire technique and what come out as a reflex, as a motor habit, I have a partner who suffers the action (Uke), a necessary sparring

partner for such a situation. And if Uke has to fall many times, so that I can make my movement better and better, It must fall on a surface that does not threaten its physical integrity. Today we have Tatamis (Synthetic mats) designed specifically for this purpose, with standardized measures to assemble them anywhere (1m x 2m), hygienic, easy to clean and maintain, with different densities for the activity (for training or for competition), with the friction that it should have, neither rough nor that one slips on it), and in the part that goes resting on the ground, with non-slip rubber, so that they do not move. In 1999 the first synthetic competition area arrived for the Uruguayan Judo Federation, for Bushido Academy and myself. Imagine that before we competed on straw tatami rice covered with rough canvas (0.80m x 1.90m), which we brought from Brazil. They were not hygienic They moved continuously, so we had to be pressing them against each other continuously and careful not to stick a foot right into that

gap, or go down on one knee, an elbow or head, just as the tatami opened! In the Dojos, if we had that material, they always had a wooden frame holding them. After so many falls or specific work, they began to break down and become skinny and It was already like falling on the floor. As a child, when I started Judo at the Christian Association of Young people, we did on a giant gymnastics mat, which rolled up when the class ended. When as a young man I went to train Judo at Club L'avenir, the tatami was sawdust (chopped wood), covered by a rough canvas and fastened to a wooden frame, fixed to the ground, they don't even want to know, what it was like to fall there! Over the years it was changed for the straw tatami rice. And when I was a Professor at the Neptuno Club, we had straw tatami mats, which later we changed for a fixed Tatami of rubber chips (chopped car tires) with canvas synthetic on top, tied to a wooden frame, fixed to the ground. This little historical overview is for you to think about the conditions in which trained at that time and feel what Uke must have thought, when it was his turn to fall, fall and

fall, so that the technique would come out well for me! You couldn't throw as many times as you needed, since we ran out of Ukes! As best friend as he was, a moment that it was necessary to change of exercise. Besides how it's like a role play, then he would be the one to shoot and I had to go down without complaining. Not to mention the intensity brought to the launch, or fall on it! Today we also have special high-impact mats, which are placed on the tatami and allow the throws with all the power, without injuring the one who falls. When I have already identified one or several of my favorite techniques, which will accompany me a lot time, I must be able to perform it against many rivals different in size, weight and experience. Adapt slight variations according to height, weight, mobility of the opponent, his personality and attitude. It is not the same when I know that my adversary is calm, nervous, aggressive, cerebral, counter puncher, etc. And that is why it is so important to also study the different forms of grip (How to get to him, how to annul and break the other's hold), the

techniques of combinations logical, to do before my favorite, or after it. Also they logical chaining, dodging, coping, displacement, kickbacks. And if we continue in the sporting part, we must absolutely know the Current competition regulations, to know what I can do and what I should not do, including trying to induce to commit punishable fouls, which can lead me to victory sporty. If my specialty is the kickback (Kaeshi waza), I must clearly visualize, feel or intuit, the opponent's attack and respond before his movement makes it unavoidable. yes i I advance in my counterattack, he can change his technique, if he delays me, it will be too late and he will give my body against the ground. It must be at the right moment, neither before nor after. The directionality of the kickback is given, not by the theory (which I have already studied), but for the current situation. When you enter your technique forward, backward, to the lateral, towards the corners, pushing, bringing, cheating, with much or little imbalance. And it is quite a science, to be effective in this way of fighting. When I am in the ground Judo

part, I also have my favorite techniques, but I must not waste opportunities to make any kind of attack. We are fighting in ground and if I see an opportunity to lock (Kansetsu waza) or strangle (Shime waza), although I don't be my best techniques and I specialize in immobilization (Osaekomi waza), I must not waste that opportunity, waiting for a better one! In standing and ground combat: A) I can take advantage of the opportunity (for example when it comes towards me, or pushes me, or pulls towards him, or hits me and responds with techniques forwards or backwards from him), in the he fights for the grip, when he tries to grab me, I take it first. On the ground move all my body, watching his movements and taking advantage of all the targets. B) I can generate the opportunity (For example, by pushing him so that in response he tries to push me, or grab him and pull him towards me, so that he opposes that intention and tries to take me towards him, and enter my attack techniques), in the fight for the grip, let unprotected an area of my body or judogi, so that he grabs and I can grab him, since he prevented my taking.

On the ground, leave my neck

unprotected so I can try to find a strangulation, and when he stretches his arm, give him a dislocation, etc, etc. Other times, to perform my favorite technique (As we named in the first part of the note last month, O SOTO GARI -just to name one-), I don't get the fundamental grip or logical on my opponent, then I must have studied and practiced my technique, not just grabbing the lapel and sleeve, I must be able to do it with a grip on both sleeves, on both lapels, with one arm around his head, with one arm around his waist, my two hands grabbing his arm, or his neck or pushing, etc, etc. Wide, very wide the work to realize. Because it is also when he moves forward, backwards, turns, moves sideways... And when we have quite mastered the technique, we take off the Judogi jacket (the uniform for Judo), so that we do not have the possibility of grabbing clothes (which we have become accustomed to). Or we blindfold ourselves so as not to see and trust our movements and sensations. EITHER we put one of our arms inside the belt, to do everything with one arm. EITHER we try to hit each other for a chance to block and/or redirect the hit, taking advantage of that moment

to perform the technique. Or we hit as a distraction to get there to melee and perform the technique. Or we throw with the technique and continue with blows (Atemis) when it falls. Or we pull and when it falls, we lock and/or strangle. Of course, each one chooses his path, the training of an athlete is not the same of high performance (in Judo or any other sport), that training for Judo Traditional, personal defense, security forces, military forces, etc. The fundamental technical basis and theory are similar, but the objectives are different. The high-level Judo competitors, spend their best years (of peak performance), training to compete in optimal technical, physical and mental conditions, trying to get the most important trophies in your career, before it ends. Those of us who practice "Judo for life", personal defense and security forces, have other objectives, adapting Judo perfectly to those needs. These topics, develop in the next note. See you at the Dojo, and on the Camino! Prof. Marcelo Ehrlich.

Tang Soo Do

By Elias Pulgar Olguin

Why are there people who generate more than others?

Greetings to the readers who follow us month after month. On this occasion, the difference between people, result in a great difference between doers and few productive. Each individual has the freedom to generate more and generate less, the same thing happens in our martial arts schools, many times the energy that is delivered to the student is what defines the difference between one school and another, if to this is added the comfort of a Dojang, much better, when performing a technique without energy is like making a line in the water, everyone saw the shock wave but no one cared or was surprised, the same thing happens in our personal lives, energy is the one that will mark a great distance between efficient companies and

beloved of other companies where they are "The worst is nothing", it is for this reason that the values that we contribute to our students, their parents, the team of teachers is vital to improve our environment , Money is energy, let's analyze an example, if we have a high-performance athlete like Mike Tyson and his bank account has 6 zeros (0,000,000), how will his training be? but if that same bank account has minus 6 zeros (-0.000.000) believe me that his performance will be rock bottom, his focus will be on saving his family, anthropologically men are made to be territorial and take care of our family, for Therefore, with a negative balance of such magnitude, concentration is impossible, therefore the money factor is very important in our lives, it is necessary to understand that money is not bad, quite the opposite, thanks to this resource we can live

as we want and where we want But the difference is in the use of time to obtain this economic resource and this is where winners and losers are divided. sounds strong right? but it is stronger to live in decline and depend on some social security so that, at the time of retirement, we receive medications, where not everyone is approved to obtain some help or discount, therefore, where is the supposed job stability? readers from all over the world each person is free to be happy, prosperous, abundant, rich and valued for himself, but there are many who want to live as they dream without paying the price and that is where those who generate are separated, those who do not they generate and those who want it to generate them. It is necessary to work intelligently using the human and technological resources available to improve our Martial Schools, carried out with the aforementioned. The world changed, today's world is technology uses this great tool to have better skills and be a contribution to our place of residence and our generations. Greetings Tang Soo!!

GM WILLIAM WIDMEYER WARRIOR… SCHOLAR… TEACHER… ROCK‘N ROLL REBEL… PHILOSOPHER…

1

By SMaster Guy E. Larke

By Master Guy Edward Larke

The path of a martial artist is as unique as a fingerprint or a snowflake. Some are much more unique than others. As someone who thought outside the box and lived a mile away from it, I find myself drawn to those types. About twenty-five years ago, I met a foreign Buddhist monk in Eastern Canada, where I lived. During one of our many discussions, he told me that the “complete man” journey, so to speak, involved being a father, a son, a sibling, a friend, a husband, a student, a teacher, a warrior, and a healer. Quite an ambitious undertaking, I thought but very inspiring. In reality, the number of people I have met who fit all those is few and far between. It was inevitable that I would actually befriend one. Grandmaster William Widmeyer and I met as we were both in the American Korean martial arts scene (myself more as a writer). He reached out to me, and we began to talk about sharing his story, his art, and his martial revelations. This series is an abridged version of those conversations…

Larke- What was your family

William Widmeyer Warrior… Scholar… Teacher… Rock‘n Roll Rebel… Philosopher… PART 1

background?

Widmeyer - I was born October 19th, 1975, in Kokomo, Indiana. I grew up in Marion, Indiana, though. My mother is Beverly Widmeyer, and my father, David Widmeyer. He passed away, though. I have a brother, Curt Nickels, and a sister Angela Vest. In addition, I have two sons, Anthony and Vincent, with my ex-wife Kathryn. Recently I married Lorena Acojedo, an amazing lady!

Larke- Whatyourearlyyearswerelike? What caught your imagination first, musicormartialarts?

Widmeyer - Actually, my first love was roller skating, but I changed to ice skating very young. I ice skated until I was 16. Eventually, I blew my hip apart and had to stop. At one time, I was the best in 21 states at my level. Music came second. Due to my injuries, I started playing guitar in my recovery and downtime.

Larke- What got you into the arts? Withwho?

Widmeyer - I was mugged, basically. I got ran off the road when I was 16. The guy pulled a knife on me. I was able to defend myself, with only a small cut to my hand and a sprained foot. I was using

a cane for part of the rehab for my foot.

I always collected knives and swords, so my mother tried to find me a cane sword to use. She called a local school, and he said sure he could get them, and he could even teach me to use them. I had always wanted to study martial arts but could not find anyone to teach me due to hemophilia. Most instructors would say NO WAY. But the local guy was brave enough to take me on.

I started under Rembert McGruder in Tae Kwon Do (ITF). Coming from a skating background, I was used to training very hard, so I just changed gears to martial arts. It was great therapy for my hip.

I did a lot of searching, and after training with McGruder, I ended up with Grandmaster In-Suk Pak. Initially, I was looking for him, but my research led to many dead ends. When I met him in Toronto on my spring break, Grandmaster Pak was there as it was his school. PURELY LUCK. I knew a lot of high-ranking grandmasters eventually started their own systems. That is precisely what Grandmaster Pak did!

Larke- Once you started, was it what youexpected?Howso?

Widmeyer - At first, I was happy just to train and learn. I was a very dedicated athlete, so it was nice to have something to focus on again. They did a lot of point tournaments. I was unbeatable in forms. But I always got disqualified in point

sparring for excessive contact. However, part of my training was being sent into no-holds-barred MMA matches.

Larke- What was different about Pak's kindoftraining?

Widmeyer - We would train anywhere from six to 10 hours a day. Then he had a “set” of different training partners, and it would vary daily who would come in because he was not exactly the gentlest person, to begin with. But he also expected me not to be gentle. So, I would burn through training partners regularly. There were many times those guys went home after one day. Sometimes they wouldn't come back for a week. So, I had groups. One set was on a Monday, while another set was on a Tuesday. But it also allowed me to train with different body types and learn how to fight different body types, which was really cool. But the training was incredibly intense, and he had no mercy. He was what you imagine as your typical grandmaster. He used to wake me up in the middle of the night. I slept on the mat in the school. At night I’d sweep up the hair and mop up the blood before I went to bed. He'd wake me up at 2 or 4 o'clock in the morning.

“Hey William, you grab me here.” Then he’d put me in a pretzel. I'd be like, “ARGH!”.

“Okay, go to bed now!” and he’d go back to his room because he lived in the school too. Now his wife lived elsewhere, and he would go see his kid during our break time and spend time with his wife every day. He was almost always at the school. If not, he was spending time with his family.

He was a harsh taskmaster and expected 110%. I was no exception. In fact, I had it worse.

On a few occasions, we would come out of a restaurant or a public place only to have someone assault me (unsuccessfully).  Later I found out Pak was the one that was instigating those situations as he was constantly testing

me. After he would analyze and critique my “performance.”

Larke- What did you learn in all the competitionsyougotinvolvedin?

Widmeyer - I did what I was trained to do. I defeated my opponents by analyzing what they could and couldn’t do. Then I employed what seemed to be the most logical offense.

Larke- Asidefromwhathetaughtyou, whatdidyou“learn”intheringagainst thesedifferentfighters?

Widmeyer - I would go both routes. So, I did what he said to me before getting in the ring with person “x.” Then. He would tell me how I was supposed to beat that person. If I, let's say hypothetically, went to do an outside wrist lock and failed, the training I had that night was worse than the fight I had earlier. So, I really learned how to read people. I also learned how to understand the theory of auto kinematics or how the body works. That's really what he was teaching me was how to understand it. Even though it's a living organism, it can still be scripted on how they moved. The biggest thing I learned. The way he was training me. Basically, to learn. If you're patient, you’ll see there's a moment in

every one of these competitions where somebody will win or lose. “A,” you have to be patient enough and get there and not care whether you win or lose. The way I was taught, I went into instinct mode. Be it good or bad; I always got tunnel vision. Often, I’d win a fight and not realize “how” I won until somebody told me. If you “think,” you already lost! You cannot activate the brain fast enough to operate in that type of warfare. I was more like more of a striker than a grappler. My thing was I was able to mirror whatever your weakness was. So, when I was in Canada, training with Pak, we used to go to school for school every other day or so. You go to a judo school, we would go to a traditional school, and we'd go to these different schools to watch and “spar.” What he taught me to do was watch people. So, I learned that various arts move in different ways. I could watch a guy warm-up, then how I had to fight him because I knew ways to shut down their primary techniques and advantages.

death we were reworking the complete curriculum. It was honestly a mess of charts and notes, I had to make sense of it all and put all the proper pedagogy in place. Everything was there, I just had to finish putting everything in a complete logical framework, and make sure it all worked together. The main person that was a huge help to me in that process was Dr. Maung Gyi. He's a Bando (Burmese martial art) grandmaster. Dr Gyi’s main thing was, I can't really teach you anything new. All I can help you do is make sense of what you know. So, he taught me how to break things apart, into what he called the philosophy of motion or the philosophy of movement. That concept helped to teach me how to break it all apart into core physical concepts.

Larke-WhendidyoumeetDrMaung Gyi?

Widmeyer - I believe I met him 1997. Larke-So,didyoulookforhimorwere youintroducedtohim?

Widmeyer - One of my students, Dr. Dakin Burdick approached me and invited me to join him at a Bando seminar in Ohio. To be honest with you, I was very reluctant to go, but in the end, it was life changing that I went. We went to the seminar, during the first module Dr Gyi was doing Min Zin meditation, essentially it is meditation with rocks. To be completely honest and transparent with you, I did not understand the purpose of it.

Dr Gyi looked at me and stated, You look like you are bored but you move very different.

Then I replied, Well, I've done a lot of meditation and I understand the motion, but I really don't understand what we're doing.

Then he said, We're trying to focus, trying to teach you how to generate power.

Widmeyer - That's hard to answer to be honest with you, because Grandmaster Pak died so many years ago prior to his

We were using a single rock while meditating, passing the rock from one hand to the other in large circular motions.

Larke-Whendidyoustarttoconceive creatingyourownstyle?

I told him, Well, I don't think I really have a problem generating power. I just would like to understand the “why” of what we're doing.

Then he went, Well, you can generate power. He asked me to show him. So, I took the rock and I broke the rock with my other hand, and he went, Oh…. That was the moment that Doc fell in love with me and vice versa. It was like a switch. After that, he was kind of a secondary. I can't say teacher, more of a mentor, advisor or whatever. Dr Gyi was unbelievably helpful in helping me make rhyme and reason to everything and putting it in a logical framework.

When Grandmaster Pak had passed away, he left me control of the art we were working on, it was called Kong Jin Hapkido, J-I-N. The romanticization is very similar, only different by one little line from Kong Shin Bup. But the meaning to the root Chinese is hugely different. Kong Shin Bup means the Way of the Empty Mind. Kong Jin means the Way of the Meritorious Retainer. So, he left me an art called Kong Jin Hapkido. In 2014, I had the opportunity to connect with GM Rudy Timmerman; another fellow classmate under Pak. We were able to share a lot of stories and reminisce about him.

Larke - Was there a certain unifying conceptortheoryinparticularyouwere tryingtobreakawayfrom?

Widmeyer - Well, to be honest with you it was after I met Dr. Dakin Burdick. He was a he was a professor at Indiana University, and they had a big martial art program through the United States Hapkido Federation, after I met him, his thing was, What you do is effective, efficient and straight to the point. We need to do something with this. Years later, I found myself teaching Combatives for the Department of Defense and other federal agencies.

Larke - Okay, when did you officially labelwhatyoudo?

Wildmeyer - It was prior to the Korean Martial Arts Masters Hall of Fame in August of 2017. That was the fourth annual Hall of Fame event, held in Sault Ste. Marie, Canada. At that time GM Rudy Timmerman formally promoted me to my ninth dan and the formal Kwan was established. Ohaeng Hapkido was at that time recognized as a standalone Kwon.

Larke-Howsymbolicarethelevels?

Widmeyer - Each belt rank is symbolically represented within the logo of the art. This logo was used by GM Pak in one form or another since the early 70’s. The original logo was just the five element cycles, it didn't have the triangle, and it was just inside a circle. It was the original Canadian Hapkido Association logo, and then modified a few more different times.

Larke - Is your system better suited to experienced fighters or new practitioners?Whyisit?

Widmeyer - The Ohaeng Hapkido system can be used by someone that already has a high level of skill, and augment what they already do. By applying my principles to the existing applications and concepts can be refined, creating

a better efficiency to already existing knowledge. Yes, is the best way to answer that. As I mentioned previously, Ohaeng Hapkido can be employed by someone that already has a high level of skill, and augment what they already do. By applying the principles of the art to the individual’s existing knowledge, everything they know can be refined and improved upon.

I know I will never be able to create a clone of myself. My goal is to help all my students become the best version of what they can become. On the other hand, the system was designed to teach a beginning student conceptbased learning that can be applied to a multitude of applications. My university degree was in psychology there are a lot of learning principles and cognitive principles on how people encode things in the brain more. The way the art is built and designed it is meant to reinforce the next layer of learning. The principles that are taught in white belt, are revisited in white belt/yellow stripe. From that point concepts and principles are revisited again in yellow belt, so the pedagogy is always layered upon itself.

For example, one of my female students, Jessica Bennett, had zero martial arts background or experience, she was able to learn conceptual progression from the

first day. Miss Bennett just recently was promoted to blue belt-red stripe. As far as understanding principles and being able to do things, I would put her up against most anyone, she is able to apply what I call “TLC” properly. TLC stands for torque, leverage and compression. Those principles are what is needed to manipulate any biomechanical movement. Miss Bennett understands how to generate power from the core; not focusing power generation from ancillary muscle groups. The primary focus is to generate power from the core.

Larke - I just wondered what your opinionisinlearningwhatyou'redoing?

Isitbettertostartwithacleanslate,like the empty cup? Or is it better to have somethingtostartwith?

Widmeyer - I really can't answer that because every person is different. I have no problem teaching anyone from either scenario, developing them from there. The main thing is understanding the core concepts and principles. Once a person understands the core principles and concepts, they start to apple them together able to lace it all together. Each student has to learn what works best for them and put that into their fundamental “tool box.”

Larke-So,it'smoreofathinkingman's artthanathleticallybased?

Widmeyer - I got this from Dr. Gyi. If you take all the martial systems and break them down, they're going to fall into one of three categories. They're going to fall into an athletic based system. That's your Taekwondo, boxing, Muay Thai or MMA. The emphasis is that it is system that is regulated by a formalized set of rules.

Then you have your aesthetic systems, where they do things, the way they did it before, and the strength lies within the tradition of the art. That's what they believe the strength of the art is found.

So that's a lot of your Japanese and your Chinese and some of your Okinawan systems are very, very deeply rooted into the ancestry and the lineage and we've done it this way, don't deviate, don't change it. This, the strength lies in the consistency from the start to where we're at now.

Lastly you have what I call a combative based system, which works on maximum efficiency with minimal effort in the shortest amount of time possible. Usually these are disciplines that teaches realistic self-defense scenarios. The way the curriculum is designed, is people learn things, aesthetically, from the start. Then about yellow belt - blue stripe, they start getting into more athletic approach to it, then about Poom belt, they start getting into more combative approach to it. So, what you've done is you've taken the efficiency as aesthetics to here, then you take the efficiency of

athletics to here, then you take efficiency to Combatives to here. You cannot teach someone a combative system with zero experience. What I figured out by teaching Rangers down in Benning, is I was trying to teach Combatives. These guys didn't understand the idea of how to move with things, or how to not over apply force. So, we figured out that for guys like that, we have to start with an athletic approach, and then eventually refine it down to combative and to go from that aesthetic approach down to a combative approach. You absolutely destroy people.

Larke - Next one, what does Ohaeng meanliterallyandfiguratively?

Widmeyer - Ohaeng is a translation from the term Wu Xing 五行 . That's the Chinese for the Five Element Theory that leads into Ohaeng which is the Korean translation of it.

Larke-Whydidyouchoosethat?

Widmeyer - Everything uses principles from within the Five Element Theory in an applied fashion.

Larke-So,IjustdidIdidn'tgettouched on this already with people that have theexperience.ButI'llaskitagain,how much room is there in the system for individualityorcreativity?

Widmeyer - Everyone, every individual is going to be unique on what works best. Based on what I call a size matrix of how tall and how muscular, or your weight in relationship to your attacker. That relationship is going to dictate certain principles that are more efficient from this one to that one over here. But if I'm working from this one to here, the principles are going to be different. But if I'm the guy here going down to there, my principles are completely different based on my way over here. So, the idea is to make each individual as efficient as they possibly can maximizing their strengths that they have based on the relationships and minimize the weaknesses based on analyzing what's called a size matrix. (This will be discussed in a future issue).

Larke-Whatkindofskillsdoyouteach first?

Widmeyer - The first thing is I have to figure out where they are, as far as their core skills as far as balance and coordination. Okay, once we understand that, I can work on helping them with movement, you can't teach movement until you know how a person is able to move. Once I understand that we can plan and start the developmental stages. But the root of everything is balance, coordination, and structure. Understanding that and applying it allows students to develop and apply power generated from core movement.

Larke - But what would be next, like would it be like stances like that or be defensiveskills?

Widmeyer - Typically, it's stances which

you're going to develop your balance and your coordination. Stances are going to be your balance; movements are going to be your coordination. So, then you add in your blocks, strikes and kicks. Later, we start working on the falls and throws. Next, we start applications. as far as the technical applications, then it bounces back and forth. But that goes to the 14 pieces of the art; stances movements, strikes, punches, kicks, blocks, weapon techniques, applications, escapes, encounters, throws, falls, pins, and ground fighting. Lastly, you work on your concepts, theories, knowledge of anatomy and the philosophy. So that's the 14 pieces.

Currently, training can be done at any one of eight schools in four nations or at one of his many seminars (27 this year in 11 countries). Testimonials:

My impression of Grandmaster William was a kind, gentle, honourable man, who clearly has a deep passion for his martial art. He was very respectful, knowledgeable, and fun to be around. He was very friendly and radiated positivity and confidence. All the students and my kids took to GM William straight away.

The reason I love Ohaeng Hapkido is because it is very unique. I have

trained in quite an array of different martial arts throughout my life, but Ohaeng Hapkido is special, with a hint of madness. Ohaeng Hapkido is so effective. Grandmaster showed me and my students some really awesome techniques. He taught in a way everyone picked it up. We had a few children on the mats also, and Grandmaster William was great with them. He showed great leadership. The children fully respected GM William and had lots of fun. The adults and I loved every minute as well.

MasterGaryPeck, Oxford,England

I host the Korean Martial Art Festival (KMAF) every year in Crestview, FL. In 2017, Grand Master William Widmeyer presented at KMAF and has every year since other than when we all missed due to COVID. I've also seen him present in Canada, New Jersey, Georgia, south Florida, and other venues. He is one of the busiest people conducting seminars. He has some unorthodox ways of twisting people which is always welcomed when you’re with a group of twisted people like those of us in martial arts. He now runs the non-profit Korean Martial Arts Masters Hall of Fame and tries to make a positive influence in the martial art community. He’s always eager to help and enjoys seeing the success of others.

MasterThomasGordan, Texas,USA

HAWAIIAN LUA, PART 2

By Sr. Master Guy Edward Larke

As a youth growing up in Canada in the 70’s, I confess of having a very sheltered and narrow view of martial arts culture. The words kung fu and karate all by themselves held so much mysticism for me. As I grew older, my collection of martial arts books and magazines grew. It was inevitable that my horizons widened along with my knowledge. This inevitably led to my moving to South Korea two decades ago.

Shortly after moving here and writing myself I came in contact with my martial arts brother, Grandmaster Rob Moses. It was upon his insistence that I contact this amazing woman he knew quite well. I happily obliged with my persistent curiosity. That individual turned out to be Michelle Manu.

lineage under Solomon Kaihewalu), Kumu Po'okela (Chief Instructor) of Nā Koa (Manu lineage), and a Knight Commander of the Royal Order of Kamehameha I (The First).

After a few short conversations I felt like I was being transformed into another world almost. I have always had tremendous respect for women warriors, having female instructors in both Canada and Korea. That wasn’t it. It was the amazing art that has existed on the Hawaiian Islands that myself and likely the majority of islands were too blinded to notice.

Now when I watch really skilled dancers on the islands, I have a whole new respect and fascination for what lies behind the dances us outsiders watch.

This is part two on the art of Lua. This time we will learn about the history of the art.

Marquesas Islands, 2000 miles away, traveled to Hawaii's Big Island in canoes. Highly skilled farmers and fishermen, Hawaiians lived in small communities ruled by chieftains who battled one another for territory.

Was it threatened by civil arrest or foreigninfluences?When?

In 1778, the first European to set foot in Hawaii was British Captain, James Cook, who landed on the island of Kauai. Cook named the islands after the Earl of Sandwich, returned a year later and was killed in a confrontation with Hawaiians at Kealakekua Bay, on Hawaii's Big Island.

Between 1791 and 1810, King Kamehameha I (The First) conquered other rulers and united the entire archipelago into one kingdom.

In 1820, the first Christian missionaries arrived. Shortly afterward, Western traders and whalers came to the islands, bringing diseases that devastated the native Hawaiian population. Hawaiians had numbered about 300,000 when Cook arrived. By 1853, the native population was down to 70,000.

Michelle Manu is a modern version of Koa Wāhine (woman warrior) foremothers. She is a high-ranking Kumu (Teacher) and Alihikaua (General) of the Lua (Kaihewalu

How far back are the Hawaiian Islands'earliesthistory?

The Hawaiian Islands were first settled as early as 400 C.E., when migrating Polynesians from the

Queen Ka'ahumanu banned the public display of the Lua in 1824ish. It was because of the brutality and how it made the visitors feel uncomfortable.

art of Ka Po'e (The People of Hawai'i).

It is a warrior art and cultural practice, not just a martial art. There are a few theories of the origin of Ku'ialua. Historian Adam Keawe Manalo-Camp states that according to Moloka'i Island traditions, the source of Lua lies within the Hula (dance). Kapoulakina'u is credited with teaching Laka the art of Hula. Laka had a twin named 'Ōlohe, who trained Laka under Kapoulakina'u. The first Lua foremother we are aware of is named Kahialaka. Kumu John Ka'imikaua said that 'Ōlohe was the founder of Lua, making Lua and Hula siblings.

profession of warriorism (“Ali’i”), some were recruited (“Koa”), and some were drafted during times of war (“Maka’ainana”). As part of this cultural profession and kuleana (responsibility), warriors studied and were proficient in Hula dance, as well as, studies of war, politics, agriculture, architecture, the metaphysical (ontological philosophy) what we called Pohihihi in Maoli times, lomilomi koa or lualomi (warrior massage), weapons making, chiropractic, medicine, navigating/sailing, and more. The warriors didn't just step out of the hale (house) and practice techniques all day, every day.

In 1893, American colonists controlled Hawaii's sugar-based economy, overthrew the kingdom, and established the Republic of Hawaii. With the agreement of the primarily American elite (a.k.a. "Corporate America"), the U.S. annexed Hawaii as a territory in 1898 as the Republic of Hawaii without the Hawaiian people's knowledge. Thus, this is why most Hawaiians maintain that the U.S. is illegally occupying the Hawaiian Islands to this day.

In the 1890s, the last Hawaiian ruler, Queen Lili'uokalani, was deposed, imprisoned in Iolani Palace, and forced to surrender to the U.S.'s overthrow of the Hawaiian Kingdom.

WhatwasthemeaningofLua'sfirst incarnation?

Its original name, Kapu Ku'ialua, is modernly known by some as Lua today. Lua is the only native warrior

'Ōlohe crafted Lua as a way to protect life, or in other words, for self-defense. This is why there was an emphasis on 'breaking bones' as opposed to killing a person. But Lua could also cause a swift death within two strikes if used in war.

'Ōlohe had both men and women students, and it was not unusual for Lua practitioners to train in Hula and vice versa. Many of the Ali'i Wahine (female chiefs) were trained in Lua.

Over time, Lua master practitioners became bodyguards to chiefs and kings.

When the Ali'i began to adopt the Calvinist form of Christianity in the 1820s, both Hula and Lua became banned until the time of King Kamehameha V (The Fifth). King Kalākaua tried to revive Lua during his reign, but Lua would again go underground after the overthrow of his sister in 1893 before again being revived in the 1960s.

Weretheresubsystems? What elements were in common amongthesubsystems?

Some warriors were born into the

As our warrior culture evolved, mea kaua (weapons) were incorporated. Mea kaua were made of lā’au (wood), pohaku (rocks), niho manō (shark teeth), kumu lā’au (jagged tree roots), and iwi – fish (i’a) and human. Then and now, the mea kaua becomes part of the warrior. It is as he or she is not holding anything, but that the mea kaua becomes an extension of his or her body. As our culture further changed when the visitors began arriving, the metaphysical warrior way of life evolved into the goal of maximum battle kills and eventually incorporated mea kaua made of metal.

Warriors held titles and ranks in King Kamehameha’s military, this includes the koa wahine (women warriors). The koa wahine were experts in ambush and served as special forces for King Kamehameha I, as well as fought in battle. Kumu Lucia Tarallo, author of the Daughters of Haumea, the Ancient Women of Hawai’i, says that since the Abrogation of the Kapu in 1819 that the koa wahine was not documented, and if she was as an honorable quick mention, it was

written from a non-Hawaiian male perspective.

When the Lua was banned, it was purposely concealed within the Hula within town and eyeshot of those policing, waiting for someone to violate the new restriction. So, the warriors practiced in the pitch dark to avoid allegations of breaking the new restriction yet outside of town, Lua was still practiced in secret.

An important distinction I like to make is that the Hula and Lua are the same energy and similar (if not the same) movements. We talk about it this here and there but very few today have the fluency of both Lua and Hula to show this concealment or potential concealment. It is my personal belief that Lua and Hula are the same source of energy. It is merely the intent of the practitioner who determines how this energy is expressed. Hula is non-contact with the intent to tell stories and history, Lualomi is contact with the intent to restore and heal, and Lua is full contact with the intent to disable, dislocate, or kill. This is a beautiful and perfect harmonic example of duality in the ancient Hawaiian culture, like evidenced in the original Hawaiian religion - nature.

Howdiditevolve?

There are Lua practitioners of different lineages, including family lineages. Lua is different from district to district, family to family, island to island, and school to school. Some are known, some remain unknown. Some have and continue to evolve, and some have not – refusing to alter the originally learned knowledge.

WhatwasitsGoldenEra?

years, ‘Ōlohe did not instruct much on history. He was unapologetic about his focus on maximum effectiveness to take one’s opponent out as quickly as we could. With his relentless “maximum kills” focus and unmatched skill set, I would bet that he would have been the last man standing on the battlefield in ancient times. His legacy of his family’s art and life’s work lives through his firstgeneration disciples – who regularly teach and share his work.

HowimportantishistorytoLuaor anyart?

This question was provoking. I believe there are two Golden Eras. The first Golden Era would be under the reign of The Great, King Kamehameha I (The First). I believe that the second Golden Era is happening right now, in this moment. Since the 1960s, not many women, Māhū (same sex or bi-sexual), Mainland Hawaiians of mixed race, mixed races living in Hawaii, and non-Hawaiians have not been accepted to study when they have expressed interest. Today, some Kumu Lua will consider and welcome all of good and respectful character to study Lua. I am one of these Kumu.

Whatisyourbranch’shistory?

My teacher, ‘Ōlohe Solomon (Kolomona) Kaihewalu (1935-2019), was the first practitioner to bring the Lua to the continental United States. At the age of 3, he started his training with his mother, Cecilia Kaleikini Kaeha (Kaihewalu) who was an Ali’i (royal) from the island of Kaua’i. His ranking Kumu, learning directly from him, are mostly made up of battle tested non-Hawaiians and Hawaiians (only three Hawaiian and one is a woman). In my 24

To me, history is extremely important. I want to know what I am studying, perfecting, teaching, evolving, and sharing with the world – especially with the women – who have had less opportunity to train regularly for over 200 years. But, also, we as Kumu and practitioner are also creating history today. This is equally as important to advance and document these advancements while paying respects to those who came before us and the original knowledge – its origin, all while under watchful scrutiny as to how this advancement occurs.

Are there any accurate movies or books?

A few good books would be: (1) Ancient Hawaiian Martial Art of Kaihewalu ‘Ohana Lua, by Solomon Kaihewalu; (2) Lua: Art of the Hawaiian Warrior, by Jerry Walker and Richard Paglinawan; and (3) Warrior Arts and Weapons of Ancient Hawaii, by Sid Campbell. The Kaihewalu Lua will be shown in three Indie movies releasing in 2022 and 2023: IN3DRAGON, The Ultimate Throwdown, and The Falcon.

Whathaschangedoverthecenturies?

A lot has changed in our world collective, which affects all our respective arts. The Lua is not exempt to these changes. The ban on the public display of Lua, the revival, the re-emerging of warriors who are now able to study Lua, the effectiveness through evolution while using ancient principles of physics, body mechanics, and structure. We are not practicing Lua. We are Lua. We are not the weapon we hold. We are the weapon, period.

Howcanpeoplelearnthisamazing art?

There are teachers on every Hawaiian island. I suggest finding these teachers online or asking someone

in the Lua community for a contact for which you can inquire about studying. As for the continental U.S., the Kaihewalu lineage can be found in certain states with the most concentration of Kumu where ‘Ōlohe taught his nuclear group in person, which is Southern California. More information on Kaihewalu Kumu: kaihewalulua.com

I teach weekly - virtually and in person- and have an online classroom for self-study. The website for Nā Koa (The Warriors) is nakoawahine.org or nakoakane.org. Both take you to the same landing page. In addition,

I regularly teach at the University of California, Los Angeles, and travel to teach at workshops and conventions in the U.S. and Europe. You can also find me on Facebook, Instagram,

and Twitter.

Master Guy Edward Larke has dedicated his life to the pursuit of martial arts, Asian culture, and hoplology.ItledhimtoKoreain2000, andhenowlivesinBundangwithhis wife,Gi-Ryung,andson,Alexander. Master Larke holds black belts in several martial arts, including Tae KwonDo,Hapkido,Taekgyeon,Bon KukKumdo,Karate-do,TeukGong MooSool,andWushu.Currently,he teaches several Korean disciplines and Kisa-Do Muye (his art), writes for various magazines, and runs Kisa-DoMuye&Marketing.Hecan becontactedatkisadomuye@gmail. com.

Kom-ap-sum-ni-da! 고맙습니다!

GM Manu's Photo credit: James Trotter

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 - SelfcontrolIf 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

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

Tang soo readers, happy October! This month, I must share with you the story of my failed trip to South Korea to test for Oh Dan. First off, let me first say that I hope NONE of you ever have to deal with such a trip as this. It tried what little nerves I have left and left me feeling very hollow inside. Also let me say that I’m not imaginative enough to make any of this up, this is all true and factual, 100%.

I was scheduled to leave Pittsburgh on Thursday, September 22, 2022, on an American Airlines flight bound for Dallas, TX at 6:24 AM. As most of us travelers know, it is essential to arrive at the airport at least 3 hours before your flight, so this was already an early morning for me (and I’m not a morning person). I woke up at 12:30 AM, pulled out of my driveway at 1:30 AM, and made it to the airport by 2:30 AM. I had so much time, the ticket counters weren’t even open yet, so I relaxed. Around 3:15 AM, a line started forming, so I got in line. Shortly after, the ticket counters opened, so I waited my

My Failed Trip to South Korea

SBN Mary Cayte Reiland

turn. When it was my turn, I went over to the lady, who started checking me in. Eventually she asked me a question, “do you have a visa?” Perplexed, I asked her why I would need one, since I was only going to South Korea for 3 days. She then told me that every US citizen is required to have either a visa or a K-ETA (some sort of short term visa) approved by the South Korean government in order to enter the country. When I told her I didn’t have either of those things, she said I had to get out of line and apply for the K-ETA online. So I did… I pulled out my laptop and after much trial & error, successfully submitted the K-ETA application… only to find that it could take up to 72 HOURS for South Korea to process.

Naturally I was irritated, no one had informed me about this, so I waited in line again, and asked them what I should do. After much cajoling (they really didn’t want to give me wrong information and make me angry) they suggested that I stay

at the airport and wait to see if my application got approved, so I did. At that time, it was about 4:30AM, and they told me I had to check in for my flight by 5:24 AM in order to leave by 6:24 AM. I waited until 5:24 AM, and my application was not approved, so I had to reschedule my flight. As I was waiting for my ride to come pick me up, I checked my email. The time was 5:50AM, and my K-ETA had been approved. When that happened, I went back inside, I waited in the line, and asked them if there was any way they could get me on a plane that day. The lady was very nice and tried to help, but there weren’t any empty seats leaving Pittsburgh to connect with a flight to South Korea. At that point, I asked her to get me on the next available flight, which turned out to be Friday 9/23/2022, the next morning, at 6:24 AM.

Friday, September 23, 2022, take two! I arrived at Pittsburgh International airport around 3AM. I got my boarding passes, had a little breakfast, arrived at the gate, got on the plane and flew to Dallas, TX. No issues, I thought this was going to be perfect! I had informed my contacts in South Korea that I would be arriving a day late, and they were very accommodating, considering I was flying alone to a place I had never been before. I awaited my connecting flight to South Korea in Dallas with no issues. They boarded everyone on

the airplane with no comments, it seemed as though everything was going right… WRONG! Right before our take off time, an announcement was made that the airplane was overweight, so they had to make some adjustments, so we would not be taking off on time. We waited on that airplane for 2 hours, sitting at the gate, waiting for them to make these adjustments. I sat and watched a movie during that time. Finally, after those two hours, we were informed that the flight was suspended, and for us to gather our belongings and return to the gate.

When we arrived back at the gate, we were informed that they would have to speak with South Korea to determine when the flight could be rescheduled. They gave us free meal vouchers and asked us to wait. I informed everyone in my life what was going on during that time, my parents, KJN Saavedra, my boyfriend, and my boss. Every single one of those people said this was no longer worth it, and that I should just come home. Ever the optimist, I decided to wait to see what time the flight would be rescheduled. Eventually, I got my answer. We were rescheduled to depart Dallas, TX, at 8PM Friday, 9/23/2022. I asked them what time we would arrive in South Korea, assuming we left on time, and they told me 12:20 AM Sunday 9/25/2022. At that point, I was faced with a big decision to make. I could go to South Korea,

risk something worse happening with the airline, arrive whenever, spend a little more than 24 hours there, then turn around and come home Monday 9/26/2022. Or, I could take fate’s advice, as well as all the major people in my life, turn around and come home.

There were a few major things that influenced my decision to come home. First off, when 5 different people in your life are all telling you the same thing, you should listen. Secondly, jet lag is something I’ve only dealt with once in my life, and I didn’t handle it well. With a 14 hour time difference between Dallas and South Korea, there’s no way I would’ve been performing at my best for my Oh Dan test. I would’ve made a fool of myself, KJN Saavedra, and our entire organization (not in anyone’s best interest). Third, I realized that this was not the trip I deserved. I believe my boss said it the best way. I am not required to go to South Korea to test. The entire reason KJN Saavedra wanted to take me there in the first place was so I could have the experience of training and learning from these people. He never intended for any of this to happen, so it was best for me to reschedule this trip when we have the time to do it right.

So I came home, notified South Korea that I wasn’t coming, and mercifully, they weren’t offended. They 100% understood and felt awful for everything that had

happened. They even said that they couldn’t wait to meet me, as it had been a long time since they met with anyone as passionate as me. This entire failed trip tested me in a way I didn’t know was possible. A friend of mine said I should get the Oh Dan rank just for dealing with this disaster of a trip. Honestly, I felt like I never wanted to fly again after this experience, but I’m still going to Panama, even after KJN Saavedra gave me an out (while praying and hoping that this won’t happen again). I won’t let this get me down again in any way, and I’m grateful that I can look back on this experience and laugh. Everything happens for a reason.

Take care readers, Tang Soo!

SBN Mary Cayte Reiland, USA

MARTIAL ARTS and ME (p. 12)

Professor Carlos Damasco

Today I meet Ruben Alberto González Maya, a Taekwondo reference from the 80s. Direct student of Master Lee Byung Sup, instructor of the Taekwondo of Urguay, and one of the founders of the Uruguayan Federation of Taekwondo.

Ruben tell me about your beginnings in Martial Arts.

Well Carlos, I started practicing Kyokushin Karate with Sensei Ricardo Sosa. I practiced with him for a year, in a very strong and very difficult Karate. Looking at Judo Karate magazines. I watched Taekwondo and was fascinated by the jumps and flying kicks that the masters performed. Without knowing that Taekwondo was practiced in Uruguay, one Sunday I went with my parents to visit a Military Frigate in the Port that had docked at the pier. Coincidentally I saw on the street 25 de Mayo and Colón, a sign that said TAEKWONDO. I got closer and on his billboard I saw Master Lee developing techniques and flying kicks that caught my attention. The next day I went to the Academy

and talked to the Master and signed up. I started practicing in some very intense and different classes than today, by telling you that at the beginning of the class, in the middle and at the end, 70 push-ups were performed each time.

I practiced for a month and in the meantime I lost my job, and I didn't attend the following month because I didn't have the money to pay. Not many days later I had the surprise of meeting Master Lee, and he asked me why I didn't go to his classes anymore, and I explained the reason and he replied that I was a very good student, and that I should go without paying the fee.

I can say that the Master was like a second father to me, since I never paid the fee and neither did the exams.

In 1983 I graduated first Dan and received the black belt, belonging to the teacher who, in turn, had received it from his teacher. Something unique and that fills me with pride. I can say that modestly, I have repaid what I received from the Master, since being a blue belt, I gave the classes, in some schedules.

Tell me something about Master Lee, how was his technique.

Well, I can tell you that he had an impeccable technique and in addition to that, he had a high level of Military Art in the development of the bayonet rifle. One day I saw him in his demonstration in a military regiment, leaving the soldiers present there very impressed.

Ruben, moving forward in time, I know you spent a lot of time practicing in gyms in Buenos Aires. If it is true since blue belt, I practiced in both ITF and W T gyms achieving a vast experience. I will tell you an interesting anecdote, I went to an ITF gym for several days, and all this being a blue belt and the teacher who owns the academy, to my surprise he summons me to give a class that Saturday. I arrived and there were a lot of black belts and the teacher asked that everyone take away his degree, and that on that day they were all going to be white belts and that I stand in front of the class. At the end I was very applauded, and I did not know where to go because of the shame. But obviously the class had been very enjoyable. I simply developed a class with the program that we had in the Uruguayan Federation. What's more, the Master asked me to dictate the entire technical program and took notes, as a reference for his classes.

Speakingofyourcompetitiveperiod, whatcanyoutellme?

I participated in the first National Championships in Uruguay in 1983, 1984 and 1985. In the first one I lost the final in a Tekwondo still with sweeps. In the years 84 and 85 I achieved the first place as National Champion, and there were no more

sweeps. It is noteworthy that my competitors here in Uruguay always had many kilos ahead of me, because there were not many black belts.

Tell me about your international competitions.

Well I participated in two South American tournaments, held in Argentina, 85 and 86. I achieved First Place in both. I want to especially highlight the Second Tournament, since in the first fight

I had to face Juan Carlos Mangoni, the best Argentine competitor, category up to 64 kilos, several times Argentine National Champion and world medalist, one of the first to win a medal for the Argentina. I can say without fear of being wrong, in one of my best competitive fights, I beat him with authority and beat him after he didn't know defeat for a long time.

I want to emphasize that I rivaled my Dan degree in Argentina, since he participated in several national championships, winning some of them.

At the end of 1986 I decided to leave the Uruguayan Federation and belong to the Chung Do Kwan Association, directed by Master Oscar Tajes, currently 9th Dan of Kukkiwon, since it gave me the opportunity to practice a more modern and competitive style. Along with Carlos, my interviewer, we managed to get the Master to come to Uruguay to give a Technical Seminar.

We also promised to organize an International Tournament with the participation of competitors from the Argentine Confederation. It was held on February 28, 1987, and around 150 competitors participated, half of them Argentines, this being the first WT International Taekwondo tournament held in Uruguay. I participated in it achieving first place. We spent 2 years with Master Oscar Tajes, and after that time it was

decided to move to the Seng Do Federation of Argentina, which is in charge of Master Carlos Filippa, currently 7th Dan. At that time, he was coach of the Argentine National Team in its competitive part and since I really liked the competitive part, it seemed appropriate to be there. My students agreed and that enriched his technique. In short, together with Carlos, I am the introducer of the Argentine branch of Taewkondo WT. Over time, other Masters follow both branches of the two Argentine Federations. For many years I continued to teach and compete less, since my job takes a lot of time to train me in the proper way to compete. Today, at the age of 60, I continue in my job as a specialized car mechanic and I practice for myself. I am very satisfied with the path traveled. I have a 12-year-old daughter who follows in my footsteps and she is a very good practitioner. I have more children, but only she follows this path. Ruben, thank you very much for this interview, many things were left unsaid about your career.

P.S. In my view, it was the best competitorinthecategoryupto64k. fromUruguayandoneofthebestin Argentina,atleastinthe1980s,and untilthenext.

SANCHIN SHIME

Sensei Cecilia Salbuchi

Sanchin Shime

"Everything is in Sanchin" is heard in every Uechi Ryu dojo in the world. They are the words that Kanei Uechi said about the form that gives foundation to our style. Sanchin (lit. three conflicts) is meant to unite the practitioner's mind, body and spirit. When this union occurs, the practitioner becomes immovable, infallible, unbreakable. The form, if you dedicate yourself to observing it, is very simple. It lacks complex movements, kicks or flashy elements. It consists of a single stance (sanchin dachi), short steps, and three types of strikes: single finger lunge (sanchin nukite), double lunge (Morote sanchin nukite), and thumb knuckle strikes (Morote boshiken, after wauke). .

To be the first form of the style there is nothing simple about it! It is not customary to practice bunkai (analysis) in this way. That it has it, it has it... but it is not what moves us to practice it. If we study Sanchin properly, understanding its principles, we have plenty to

practice Sanchin bunkai while we discuss all other forms of the style. That is, Sanchin is in all of Uechi Ryu. What we practice is Sanchin Shime or Sanchin Kitae. We are going to refer to the term Shime that explains more precisely what we are looking for. Shime comes from Shimeru 閉める, which means "close". According to Sensei Ramón Fernandez Cid, Shime  Hōhō 閉 め 方法 means "Closing Method", and it is the name used to check the correct execution of Sanchin in Uechi Ryu and Goju Ryu, as well as its "cousin" Naihanchi ( of Shorin Ryu). Much is debated about the correct way to correct or support the student's growth through Sanchin Shime. The exercise does not consist of merely beating the practitioner while executing the kata, that is something that, if any, is only done in exhibitions to impress the spectators. The base of the exercise consists of blows, touches, pressure and pushes who executes at different times. There are different methodologies. I've seen teachers who have a set

pattern with a lot of hitting on one side. And on the other, teachers who hit or play very little, but in a totally random way. Both methods aim at the same thing from different angles. The main thing is to understand what is sought by Sanchin. The union of the practitioner. His intention, physical tension, breathing and his technique must go after a single goal: rooting. From there, all of his hits will be lethal and his blocks will reach their full potential. All being united in one direction, and counting the strength of the earth. In the Shime we check the correct position of the head, shoulders and hips (alignment of the spine); correct neck, trapezius and dorsal tension; followed by quick thrusts and touches to the waist, hips, and thighs; to finish with blows or pressures to the lower part of the legs. The hips should swing forward, and the shoulders should compensate for this so that the spine stays straight. In a second check, perhaps letting the practitioner execute a strike and settle down again, we check the kamae (arms are struck or pushed in different directions), we strike the chest and abdomen. We again verify that he maintains a correct balance in his spine. In this check we normally check that the nukite (spear hand) is well formulated, hitting and/or pressing on the fingers to see if they give up or support the position. After all, we are going to hit like that… And in a third we verify the integrity of the base, hitting the legs from the outside and from the inside, checking that the knees are close enough so that the thighs prevent a blow to the genital area, that the tension in them is just right to

offer stability and flexibility as well. From then on everything is repeated in a similar way, although rarely the same. Although "every teacher has his own book", most will agree that who determines how we will do the Sanchin Shime is the student, since we will stop at what he needs to improve, and not what we as teachers want to do. If the student's problem is in the hip and that he has not yet found how to "close" the position, our blows and pushes will be aimed at achieving this task. Always pushing him to the limit of him, so that he identifies and overcomes it. If, on the other hand, his problem is related to the upper part, we will direct our attention to that area and pay extra attention to the arms, chest, abdomen, back, neck. Touching different points of the body is normally done by digging in the fingers and is a message to adjust that area, for example, by touching the obliques. The push tests the

balance, the rigidity, but also the flexibility to absorb and return to the original position. An example of this is when we check the back of the knees with a push with the edge of our foot. And the percussive blow also has a knocking effect, but with the extra complication that now there is a stronger and more tangible combination with breathing, absorption work and kitae itself. The three methods give information to the instructor, but they must give even more information to the practitioner, since it is he who must constantly readjust his body to achieve the task. Let us always remember the final intention of the exercise: to achieve a good Sanchin. Learn to close, root, unite. And the practitioner who achieves it can receive blows of different intensity without being disarmed, surprised or destabilized. An interesting point that is debated is whether to always execute the same order of blows or not. The

point in question is related to seeking that the practitioner does not anticipate the movements. For example, if we are going to hit him in the abdomen, he should not lean his body forward in an attempt not to fall later due to the impact. The key is to focus on the final objective and apply it to the entire practice, since even while always doing the same thing, the important thing is that the practitioner incorporates the idea of not anticipating (even in tai kitae or yakusoku kumite) in order to work proper timing. These subtleties are accompanied by the breath of the constant search for the "half hard, half soft" that Uechi Ryu carries in its DNA (the ancestor of Uechi Ryu is Pangainoon, which means that, the same as the meaning of Goju Ryu, another practicing style). of Sanchin). And as a closing, a personal recommendation: The practice of these exercises can hurt, but never hurt. The conditioning of the body must be progressive, constant, disciplined. There is no benefit to beating a novice hard, it is years of work that never ends.

GOPAK Freakie-Do

Fighting gopak - power in dance

Whenever it comes to martial art, which uses certain elements of dance in its arsenal, or methods of using martial techniques in dance, many immediately capoeira comes to mind. But not everyone knows that this example is not the only one. For example, there is still such a martial art, which is called martial gopak. Despite the fact that he is very often compared to capoeira, in reality, in his philosophy, he is much closer to traditional kung fu.

Martial art is called a martial gopak, which combines throwing and percussion techniques with the plasticity of Ukrainian folk dance Hopak. For this art is characterized by striking and kicking, and hands, as well as the use of grips and blocks. As a modern national martial art and military philosophy, the gopak has been developing for over two decades. At present, up to seven thousand people are engaged in the schools of military hopak all over Ukraine.

It should be noted that the system of education of soldiers on our land has always existed. Its founders were the indigenous population - sedentary

farmers who were forced to defend themselves and their territories, and nomads who were constantly moving around the country.

Information about the military national tradition has been preserved only since the existence of Kievan Rus. Its legislators were the Magi, who were engaged in the upbringing of princes, who, in turn, obeyed the warriors. The preparation of warriors began at the age of three years, and of the princes even before birth (the magicians whispered certain prayers over their mothers). When the boy was three years old, he was taken from his mother, and began a systematic training. When the child was thirteen years old, he underwent a rite of initiation into warriors (the so-called rite of imprisonment on a horse). Only after that the new warrior had the right to go to battle and seek fame. And if a warrior died in battle, it was generally considered the greatest honor.

After the baptism of Russia, with the advent of Christianity, everything changed dramatically. Military honor began to take a completely different way. According to the new religion, the enemy had to be met with humility. That is why, some

researchers say, when the Mongols came to the Russian lands, the warriors could not give them a fitting rebuff and protect their native land.

New legislators destroyed representatives of the old system, but some managed to survive. Most of the wise men went under the guise of the elders to the people, thus transferring their knowledge to people. Therefore, even despite the fact that the system of education of soldiers no longer had a single center, its tradition has been preserved. The elders of the Magi lived in almost every village. And most parents gave them their sons for education, offering honey, grain and cattle as payment.

In addition, a reliable stronghold of the national military education system was located on the Sich and was supported by Cossack character. When the Sich was crushed, they also went to the people, having encoded their knowledge in a dance - the gopak, the lasso, the blizzard, the Cossack girl.

If we talk about the modern attitude to the martial gopak, now there are several basic views on this martial art.

According to the first, the combat gopak is the original Ukrainian combat system, which appeared in the Zaporizhzhya Sich, where there were special schools in which this type of martial art was taught along with learning to play musical instruments and literacy.

The second look at the military gopak has pronounced nationalistic shades and says that the roots of the military hopak go either to the Aryans, or to the ancient Ukram. There is a lot of patriotism in this and there is

practically no sport.

And, finally, the third view suggests that the combat gopak is a modern compilation of certain elements of martial arts and elements of Ukrainian folklore and hopak. It should be noted that the philosophy of the fighting hopak itself is very similar to the philosophy of martial arts of the East, but with the addition of national shades.

In the modern world, representatives of the school of military hopak are very often accused of the fact that the military education system, which they support, has no solid basis.

There is some truth in this, because right up to the 1985 year of the military hopak as a Ukrainian type of struggle, his system clearly did not exist. And only thanks to Lvov Vladimir Pilate, she appeared.

There is information that the man lived in the East for many years, and returned to Ukraine, already being a karate master. Pilate wanted to open his school of martial arts, but he was recommended to return home and do it here. And so the first experimental school appeared in 1985 in Lviv.

Despite the fact that most people consider the war gopak as Old Russian martial art, in reality it is a modern martial art that includes some elements of Ukrainian folklore. The founder of the school, V.Pilat, calls the war gopak the author's style, which combines the various elements of oriental martial arts, folklore and dance elements. Mandatory part of all fights is musical accompaniment. The fighting gopak has seven levels of skill, of which three are student's (Sokol, Zhovtyak, Master), three

workshops (Character, Kozak, Magus) and one intermediate (Jura). Each step has its own coat of arms.

Each combat duel is conducted under a certain musical accompaniment, which, strictly speaking, sets the overall emotional tone. Those who have masterful degrees have the right to use in a dance duel. weapon (from sickle to two-handed sword). And if we take into account that such fights, as a rule, are held in Ukrainian national Cossack costumes, then it is obvious that the spectacle turns out to be simply thrilling.

There are several types of combat hopak, you can go a sparring or act in single exercises. Solo performances are more like dancing to music, in which the main focus is on the demonstration of combat techniques. Sparring is divided into several types: light, which only implies strikes, and more risky, which implies the conduct of the fight in full force.

Currently, the largest centers of military hopak are both in Kiev and in Chernivtsi, Ternopil and Lviv. A well-represented combat gopak in the Dnipropetrovsk region. In the Ukrainian capital, the development of the combat hopak began in the middle of the 90s of the last century. In 1997, the School of Combat Gopak was opened on the basis of the T. Shevchenko Kyiv National University, which was actively supported by students. In the winter of 2001, the first All-Ukrainian educational and educational seminar on Combat Gopak was held in Kiev.

Gradually, the interest of the younger generation in the combat gopak began to grow. And already in 2002, a branch was opened for the youngest students. In 2004, the combat gopak

was introduced into the curriculum of the Ukraine University in Kiev. In addition, in the same year, the Gopak Art Show Art Center was organized, which operates on the basis of the Kiev Federation of Fighting Gopak, and which organizes demonstration performances and show programs not only in Ukraine, but also abroad.

Gopak: https://www.youtube.com/ watch?v=76yKfz09xAA&t=240s

Okinawa Times newspaper press release, 9/25/1957 Dialogue between Chōshin Chibana, Shōrin Ryū (Kobayashi) Karatedō Shihan, President of the Okinawa Karate Federation, 73 years old, and Shōshin Nagamine, Shōrin Ryū (Matsubayashi) Karate dō Shihan, Okinawa Karate Federation Vise-Chairman, 52 years old Translated from the Japanese by Aritomo Ito. Item originally donated by Andreas Quast to Lara Chamberlain Translated into Spanish by Gerardo Balves with due authorization.

Nagamine:

It seems that Karate existed before it came from China.

Chibana:

This is what I heard from my teacher, Ankō Itosu, there was an indigenous Okinawan art called "Tī". The heroic episodes of Uni-uhugushiku and others like it may support this claim. The term Tōde (Chinese hand) is said to have come in later. Chatan-Yara's "Tī" and "Tōde" Sakugawa's Kenpo were integrated and developed Karate. On the other hand, the Kenpo

DOJO STORIES

(Chuan-fa) taught in Okinawa by a Chinese man named Kūsankū ended up becoming the Kata named after him. The three Naihanchi and two of the five Pinan were also taught by Chinese residing in Tomari. Itosu sensei modified these Katas learned directly from those Chinese masters.

Attend the Dojo secretly Chibana:

I am one of Itosu sensei's direct disciples. I started my training at sensei's house in Ishimine, Shuri, when he was 15 years old. Once I remember that he had an unexpected visitor and I had to run and hide behind some bushes. It was raining heavily and so, all wet, we resumed the lesson after the visitor had left. Back then, the general public thought of Karate as a serious fighting tool. I kept my practice secret for at least 2-3 years because I could have been ambushed if they found out about my karate training. At that time, there were many bullies in Torihori, Akata or Sakiyama (Shuri). Many came to my house asking for a duel, but I always managed to get them to go home quietly.

Nagamine: Which teachers were in the Shuri area back then? Chibana: They were all over 80 years old. In the civilian class were Yamane Usumē and Ufuchiku Usumē. For the samurai class I remember Ishimine, Kaneshiro, Kiyuna Pēchin, Chōshō Chibana, Sakihara, Ryōsei Kuwae, Tabata Mēgantō and of course Ankō Itosu. Of all these sensei, I have met Kuwae, Yamane Usumē and Chōshō Chibana.

Nagamine:

Shuri-Te and Tomari-Te were almost the same, but Naha-Te was different. Matsumura sensei of Shuri was... Chibana: Oh yeah. Matsumura sensei passed away when I was 9 years old. He was tall and thin. His eyes were big and looked like they would pop out when he looked at you.

Nagamine: I heard that Umē, his wife was also a Bushi (warrior)... Chibana: Yes, Umē was Tsurū from Yonahara, who was said to be very strong. Tanmē (Matsumura sensei) was famous for her technical talent, and Umē was famous for her power. They complemented each other very well: power 50% and technique 50%.

Nagamine: It is said that Naihanchi is all power, Passai is half power and half skill (technique and agility) and that the Kūsankū uses free body movement. Chibana: There is a story. At that time, a strong man named Magī Ōshima came to Okinawa and mocked the city by going to Tsuji Street every night to challenge anyone who wanted to face him, and thus he defeated all his opponents. The people turned to three well-known Bushi to defeat the bully who made fun of everyone. These were Ukuta, Matsumoto, and Chān Makabe (who was known as a bird man). One by one these three Bushi accepted Magī Ōshima's challenge. Ōshima defeated the light Makabi by pushing him violently. He defeated the mighty Ukuta using an even more powerful force. Matsumoto finally managed to intelligently defeat Ōshima using

Sensei Gerardo Balves

half power and half technique.

Nagamine: So this is like Makabe being Kūsankū, Ukuta being Naihanchi, and Matsumoto being Passai.

Nagamine: Who were Itosu sensei's students?

Chibana: Kentsū Yabu (Sergeant Yabu), Chōmo Hanashiro, Chōtoku Kyan (ChanMī-Guwā), Chōtō Yamakawa and Chōken Kina were all senpai of mine, and Ntā Chinen, Kenwa Mabuni, Shinpan Gusukuma, Anbun Tokuda were companions (dōhai), now I'm the only survivor. Also, Chōyū Motobu, and his brother Chōki (Sāru [=monkey]), Mōden Yabiku, etc. they were also there once.

Nagamine:

Of those who received direct instructions, two sensei impressed me the most; Chōtoku Kyan sensei for his Karate Kata and Chōki Motobu sensei for his fighting ability. (Mr. Kyan passed away in Ishikawa at the age of 76 after the war) No first strike in Karate Chibana:

It is often said "There is no first strike in Karate", which means valuing respect and courtesy.

Nagamine: There are three tenses; "Sen-no-sen",

"Sen" and "Go-no-sen". We must not initiate violence, so the use of "Go-no-sen" is the ideal. In other words, it means that we must stand up to unreasonable violence. Sōkon Matsumura (Chinese name: Wu Chengda, stage name: Unyū, was the personal secretary (and bodyguard) of the last three kings: Shōkō, Shōiku and Shōtai), traveled to China and Satsuma. He learned Tōde in China and Jigen ryu (kenjutsu) from Satsuma, and is considered the true forerunner of karate. He wrote a letter to one of his most beloved students (Ryōsei Kuwae), in which he revealed to him the "Seven Virtues of Bu [Martial Arts]": Bu prohibits violence, disciplines soldiers, maintains control among people, recognizes achievements, gives people peace of mind, maintains harmony among people, and makes people prosperous. Itosu Sensei opened up Karate to the general public, which was then only for the Samurai class, and proposed the 10 Precepts of Budo to the Meiji 41 era government (1908). He emphasized that Budo is a way to achieve a long and healthy life, and should be included in the school education system.

Chibana:

King Shōkō kept a fighting bull in his Kowan stables and to test Matsumura Sensei's worth he ordered Matsumura Sensei to fight him. Matsumura Sensei accepted the challenge and requested a few days of preparation time. Every night he would go to the cattle barn with a piece of white cloth and hit the bull hard on the snout. Once in the arena the bull spotted the piece of white cloth in the hands of Matsumura Sensei, the bull hesitated. Then Matsumura Sensei threw him to the ground and cut off one of the bull's horns with one blow. Another story of his tells that in the famous Tsuji-machi a Satsuma samurai was in an uproar brandishing his sword. Sensei told the surrounding people to move away from the light and threw their clothes at the samurai. The samurai thought he was a man jumping and falling into the trap he tried to cut the fabrics, Sensei jumped towards the samurai and pinned him down. An ingenious trick that characterized him as well as his speed of action.

Nagamine: Tomari's Matsumora was often compared to Shuri's Matsumura. It is said that Matsumora Sensei was instructed in Karate by a venerable old man named Teruya in Tomari, and later received secret teaching of Tōde from a Chinese man named Furufērin who arrived at Tomari beach on a drifting ship. Matsumora sensei always led the Hārī boat race. One day when that race was taking place, he saw a man attacked by several thugs and decided to act against those thugs who beat up the man who did not offer any resistance, he faced all of them whom he defeated easily. Kosaku Matsumora became famous at the age of 20 when he stole a sword from the hands of a Satsuma lord using only a "wet towel" as a weapon. Matsumora quickly pulled out the

wet towel that he always carried as part of his attire. Matsumora hit the stunned samurai with the wet towel and grabbed the sword. In the process, Matsumora lost a thumb. He threw his thumb and sword into the nearby Asato River. This event was so insulting to the Japanese lords that Matsumora became an Okinawan folk hero overnight.

Chibana:

Ishimine was another student of Matsumura Sokon sensei, he was a thin man who did not exceed 55 kg. but who is said to have a very powerful leg technique. One day a man named Tamanaha who was very large (he weighed about 95 kg.) who boasted of being a seasoned martial artist challenged Ishimine, who accepted. Tamanaha attacked violently, Ishimine deflected the

attack and responded with a powerful kick to Tamanaha's side. It collapsed on impact. Ishimine revived him and took him to his house. The next morning, Ishimine brought a monetary gift to Tamanaha who was sick in bed and apologized that it was his fault, but Tamanaha replied that he must not regret it. Tamanaha passed away shortly after this event. They take pride in fighting with dignity in those days.

Nagamine:

The essence of Karate shares an element of Japanese Bushido after all, doesn't it?

Chibana:

Although everything was very relaxed in the old days, society was also quite turbulent and we had many cases of theft. It is natural that Karate is taught as self-protection. A man named Mēgantō from Tabata was famous for kicking him. When he was returning from Tsuji-machi, walking along the Jukkanji road and arriving at the Sūkōji temple, a woman asked him to walk beside him towards Shuri because the night walk scared him, so he agreed to do so. A masked bandit with a 6ft Bō staff appeared and tried to take money or clothes from Sensei. He told the bandit to go away. The bandit however attacked him, Sensei took the Bō and threw the bandit to the ground and took off his mask. He was a monk and the woman was plotting the robbery with the monk. The monk vowed to change and became a disciple of Mēgantō. Also, there was an outlaw interrupting a wedding procession at night, and it was too much for the groom's men. Mēgantō was passing by and taught the outlaw a lesson. Although Mēgantō politely declined, the wedding people forcibly brought him to the ceremony. Martial discipline was very important in those days.

Chibana: The founder of Shaolin Temple Boxing was Bodhidharma Shorin-Ryu and Shorei-Ryu Nagamine: Karate is said to have been founded by Daruma Taishi (Bodhidharma) 1400 years ago. While on his mission to popularize Buddhism at the Shaolin Temple in Fuchien Province, he was worried that the health of his disciples would deteriorate significantly, so he devised a fitness method to strengthen his health. before continuing the teaching of Buddhism. That became Shorin Kenpo (Shaolin Chuanfa) and spread throughout China. Later, he joined the development of Karate by integrating the Okinawan indigenous martial art (Ti) with the strength of Shaolin Boxing. The fist bump is not included in the punching techniques of the Chinese art. Instead, they use open-handed or bird-beaked (foldedfingered) hand techniques. The original art using fists as the primary weapon is unique to Okinawa. Rokkishu (Six hands = use of hands). In the Chinese Bubishi (Wu Bei Zhi), fist bumps are not shown. Nagamine: In Okinawa, King Sho Hashi unified the three mountains (kingdoms) about 500 years ago, ruling the nation with laws and scholars, and also incorporating the benefits of Chinese martial arts. Furthermore, Karate seems to have developed enormously over 200 years in the shadow of a martial regulation imposed by the Satsuma clan. It is rumored that Karate was passed down by Tode Sakugawa or Tode Sakiyama, but the unique Okinawan "Ti" was already there before them. Karate over time formed two visions that later gave rise to schools: Shorinryu mainly of the samurai class (nobility) in Shuri and Tomari, and

Shorei-Ryu in four Naha villages. The Shorin-Ryu had been divided into several fractions, among them are the Kobayashi ShorinRyu (Choshin Chibana) and the Matsubayashi Shorin-Ryu (Shoshin Nagamine). For its part, ShoreiRyu (Kanryo Higaonna) had also been divided, mainly, into GojuRyu (Chojun Miyagi) and UechiRyu (Uechi Kambun). These four schools came together to establish the Okinawa Karatedo Renmei (federation) on May 29, 1956. The next task will be to discover how we can use this intangible cultural asset inherited from our ancestors.

Chibana: Let's keep the old Kata. It is necessary to study the recently developed Kata, but it is also important to preserve the old Kata.

Nagamine: Kobudo will be preserved. Kobujutsu (self-protection method that uses objects as opposed to Karate that uses empty hands) must be preserved in parallel, but together with Karate. One had to use some kind of weapon when facing an assailant who had a sword. The attitude of going emptyhanded against a gun does not give me a good impression of reality. The purpose of Kobujutsu is also self-defense. Items like the Bo, Sai, Nunchaku, Tonfa, Surujin, Tinbe, etc. They are currently airing.

Chibana: Yamanni Usume and Chojo Oshiro were known Bo teachers. Hohan Soken of Nishihara Gaja was a teacher of Bo, Sai and Kama. Today, Shinei Kyan is a Sai expert.

Nagamine:

About the Dojos these days, we see that teachers like: Yuchoku Higa (Shorin-Ryu), Eiichi Miyazato (Goju-Ryu), Seiko Higa (GojuRyu), Katsuya Miyahira (Shorin-

Ryu), Kan'ei Uechi (Uechi -Ryu), Shugoro Nakazato (Shorin-Ryu), Seikichi Toguchi (Goju-Ryu), etc., already have their own dojo, and the students added together give a total of approximately 1,000. Karate and its boom in the continent

Chibana:

Too few for the birthplace of karate. According to Higa, there are approximately 700,000 Karate students on the mainland and there are already three dojos in Hawaii as well.

Nagamine: So many dojos on the continent and each dojo is giving what he wants. It's good that it's popular, but most are too careless of technique. Since Gichin Funakoshi Sensei moved to Tokyo in 1922, his achievement in popularizing Karate is enormous. That Karate is spreading after the war, but the content is insufficient and now it looks like a show. Many "So-and-so Ryu" are being created on the mainland. I'm not sure if this is really a worthy development for Karate after all. Chibana: Karate in movies is like an acrobatic show. Rikidozan (Korean Japanese professional fighter karate open hand punches

Nagamine: People are making noise about Rikidozan's karate punches, but his technique is nothing more than a vertical sumo slap. With such a good physique and such refined technique, he could be a highly effective Shuto. Chibana: It's probably a lie that he learned it from Shikina Oki (Hawaiian professional wrestler of Okinawan origin)

Nagamine: I spoke with Shikina Oki when he returned to Okinawa. I think he has no experience in karate. Around Showa (1927), Jigoro Kano Sensei

of Judo visited [Okinawa] to see Atemi (strike) of Karate, and later created a Judo exercise using them. Gymnastics and self-protection Chibana:

Karate is primarily for physical and mental training and secondarily for self-protection. I have taught approximately 2,000 disciples in the last 40 years, but not one of them has been arrested or stricken with tuberculosis. I firmly believe that Karate helps to strengthen the internal organs. I was always weak during my childhood with a digestive disorder. I became a disciple of Itosu Sensei, but he was reluctant to teach me at first.

"Why do you want to learn Ti?"

"Because my body is weak."

"So, do gymnastics at school."

"I believe that Karate is the best remedy for health."

"Come see me next time."

I came home after having this discussion and visited him again after 4-5 days.

"You would fight once you learn Ti and become strong, wouldn't you?"

"No, I want to get my health back."

Then he started asking me about my family and looking up my background. Again he said "Come see me next time."

So I felt upset, but the next time

I visited him again, he asked me "Do you really want to get in shape? Are you going to do it wholeheartedly?" After that, he took me as a disciple. He thus confirmed my seriousness, patience and temperament. So, I started to strengthen my sick and weak body that I had throughout my elementary school. Itosu sensei was a strong and gentle man. 5 shaku 4 sun (approximately 5'4" or 162 cm tall), 140 kin (approximately 185 lb or 84 kg), had very broad shoulders. He weighed about 120 kin (approximately 159 lb or 72 kg) when he died at 95 years old I remember that his thighs and fists were twice the size of a normal person, he had

a great posture and he actually ate a lot.It was said that the practice of Ti cured Itosu sensei of the digestive disorder he suffered from when he was younger. Strengthening without pushing too hard Nagamine: Because Karate is practiced according to age and physical strength, it does not become overwhelming. Trying to push yourself beyond the limit is outside of the true goal of karate. Chibana: Young people boast about breaking tiles or wooden boards, which is a superficial idea. The Karate practitioner must vigorously train himself with the practice of Kata,

Kumite, Makiwara and Hojo-Undo. When those trainings come together at a high level, the power of Karate naturally comes out of oneself. Nagamine: In fact. Pushing too hard only ends up ruining health. Chibana: A student of mine named Mansho Oshiro, suffering from pleurisy, had improved his health by practicing Karate and passed class A in the military conscription test. He always sent me letters from the front lines saying that he wished the war would end soon and that he hoped he could go back to Karate training with me. This young man was a company commander and was killed on the Burma front. Even a sick person can train Karate. He would not make that person go through regular training, but instead would make him train more lightly, as if he were dancing. And by making his mind happy, it would allow him to forget the illness that he has. A Karate master must not only teach Kata, but he also has a responsibility to improve the health of his students. I am still studying methods to achieve this, I have already taken this as my life's work.

Gerard Balves

7th Dan Kobayashi-ryu Kyudokan Coordinator of the International Group of Dojos Kyudo Mugen Kyudokan https://www.facebook.com/gerardo. balves

THE "POOR" KNIGHTS OF CHRIST

Between the uncertainty of knowing if it was for political or religious reasons, around 1095 a relief maneuver begins on the Holy Land to give security to the pilgrims in the area. Under the name of Crusade, a union of Christians was created that in 1099 will take Jerusalem. This point gave the starting signal for Hugo de Payens, together with 9 other Christian knights, to found a monastic order with the aim of giving support and protection to the pilgrims who crossed Europe with the intention of visiting the holy places where Jesus Christ lived and died. This is where the origin of the Templars begins, which, initially, was nicknamed the Order of the Poor Companions of Christ and of the Temple of Solomon.

The Templars

It is not until 1129 when the order is formally approved by the Church. Little by little it grew thanks to the donations and the great fortunes of the nobles who became part of the order. Thus, in 1220 they became economically the most important force in Europe with some 30,000 knights. One of its emblems par excellence is the Templar seal in which two knights appear on the back of the same mount. This symbolizes poverty and humility, two of the most important vows of the order.

Decline of the Order.

It was the loss of the Holy Land that started

the decline of the order. Here begins a smear campaign with accusations of heresy and false crimes with which Philip IV of France wanted to put an end to the Templars. Finally, it is in 1312 when Pope Clement V dissolved the order. To a large extent, this end comes hand in hand with the wealth and power that sustained the order. And it is that the Templars were the forerunners of banking in Europe: they offered more advantageous loans than those offered by the Jews, thus becoming great bankers. This good position was, without a doubt, what generated envy among the indebted upper echelons. Envy that led to the accusations that, fair or not, put an end to his time. The Order of the Poor Knights of Christ of the Temple of Solomon (Latin: Pauperes Commilitones Christi Templique Salomonici), also called the Order of the Temple (and often said in the Frenchified form Order of the Temple), whose members are known as Knights Templar , was one of the most powerful Catholic military monastic orders of the Middle Ages. It remained active for just under two centuries. It was founded in 1118 or 1119 by nine French knights led by Hugo de Payns after the first crusade. Its original purpose was to protect the lives of Christians who made pilgrimages to Jerusalem after its conquest (mainly from the port city of Jaffa). The order was recognized by the Latin patriarch of Jerusalem Garmond de Picquigny, who imposed on it as a rule that of the Augustinian canons of the Holy Sepulchre.

This rule, within the Templar context, is known as the Latin Rule. Officially approved by the Catholic Church in 1129, during the Council of Troyes (held in the cathedral of the same city), the Order of the Temple grew rapidly in size and power. The Knights Templar had as a distinctive a white cloak with a red anchored cross about him. On April 24, 1147, Pope Eugene III granted them the right to carry permanently the cross; simple cross, but anchored or kicked, which symbolized the martyrdom of Christ, red, because red was the symbol of the blood shed by Christ, but also of life. The cross was placed on his cloak over his left shoulder, above his heart." Militarily, its members were among the best-trained units that participated in the crusades. Non-combatant members of the order managed a complex economic structure within the Christian world. They even created new financial techniques that constitute a primitive form of the modern babanc. The order also built a series of fortifications throughout the Mediterranean Sea and the Holy Land.

The success of the Templars is closely linked to the Crusades. The loss of the Holy Land meant the disappearance of support for the order. In addition, the rumors generated around the secret initiation ceremony of the Templars created a great deal of mistrust. Philip IV of France, heavily indebted to the order and frightened by its growing power, began to pressure Pope Clement V to take action against its members. In 1307, a large number of Templars were imprisoned, forced to confess under torture and burned at the stake. In 1312, Clement V gave in to pressure from Felipe IV and dissolved the order. Its abrupt eradication gave rise to speculation and legends that have kept the name of the Knights Templar alive to this day.

In full fury of martial arts movies, a Hammer in absolute economic decline and, above all, artistic, decided to mix its traditional myths with the cinema of piecework, flying kicks and acrobatic and superhuman flights, teaming up with a Hong Kong producer to pulling off a bizarre mishmash that turned out to be one of the most unintentionally hilarious movies of either genre. The film brings together what could be expected from a second-rate commercial production designed to be successful in double bills, open-air cinemas and other circuits of rather scarce prestige. That is to say: a wide range of punches and kicks, two or three shots of female breasts out of the blue, copious amounts of blood, a linear and quite simple script and a duration that does not reach an hour and a half in its western version (the version for the East included half an hour more of battles and mamporros). As a curiosity, let us point out that the image that terrifies oriental vampires is not the crucifix (they

are not Christian vampires), but the figure of Buddha; perhaps one of the few examples of ingenuity of a mediocre and rather sloppy script. The film is certainly quite bad, but its impudence is such that it provokes more than a few moments of fun, when not absolutely humorous, and at the end of viewing the film we are overwhelmed by the feeling that, after all, we have not wasted time and perhaps our mood has changed for the better. Recommended to review from time to time, preferably in company and, if possible, somewhat tipsy. Fun is assured.

https://www.youtube.com/ watch?v=UVgWkBSAPeY

Dana Hee, the hard story of an Olympic Taekwondo champion Learn about the hard story that North American Dana Hee, champion at the Seoul Olympics, had to live through and overcome when Taekwondo first appeared as an exhibition sport.

By MasTKD -September 13, 2010

After her Olympic victory and after going through a painful past, she not only became a model, a stuntwoman in Hollywood, but also dedicated her experience to making her known to the world through self-help conferences and seminars in her country as well as in the rest of the world.

This beautiful woman who lives on a paradise ranch in New Mexico, USA, surrounded by indigenous people, horses, deer and wild animals, has also worked as a stunt double in several films, including Mortal Kombat and Batman, among others. She defines herself as a woman who had a great achievement by being an Olympic champion.

DANA HEE

HAS COME FROM FAR AND STILL HAS A LONG WAY TO GO. A WOMAN WHO KNOWS THE MEANING OF HOPE, COURAGE, AND PERSEVERANCE.”

Below is a summary of her life, told in the first person by Dana Hee herself, exclusively for masTaekwondo.com ..

I lived my life for the first 22 years in a very sad way. From the age of three, I was between an orphanage, and a family that disintegrated between abuse, suicide, alcoholism and low income. With that kind of life I was in a commune, a government shelter, and finally in a foster home until the age of sixteen.

Never trusting illusions of love and security, I left the foster home and struggled for the next six years to live on my own. I was in a lot of emotional turmoil, and pain had run my life. The devastating feelings of sadness and despair from the past had blocked out any sense of hope that any girl like me could have had. Time and time again, I found myself running from any possibility, challenge, or dream

because I didn't believe in myself.

IT WAS AS IF THE TWO WORDS, “CAN'T” HAD BEEN PROGRAMMED INTO MY MIND.

The thought, that I was not well enough, had been instilled in me since childhood. It was as if the two words, "I can't" had been programmed into my mind. By the age of 25, I had made my own enemy. That is, until I made a decision that would change my life forever. That decision did not happen overnight. This came from years of self loathing.

taekwondo salvation

Then I discovered that I had a real talent and the opportunity of a lifetime. With a scholarship, a sponsorship and of course, the help of the Stanford University Taekwondo coach, I began the dream of Olympic Gold.

I knew that if I won an Olympic gold medal, then I would really "be someone", I would be recognized, loved, and wanted, but I had to leave my old fear of failure to try to get the best of myself, however

WHO

I was not strong enough at that time and I left again out of fear.

Years later, I was still training to overcome my cowardice, when another opportunity to test my talent in Taekwondo was given at my first National competition in 1986, and I discovered the possibility that this sport should be presented at the Olympics in Seoul 1988, in Korea.

AT LEAST I WOULD KNOW I WOULD GIVE 100% EFFORT TO GET THE BEST IN ME.

I had been given a second chance, and I swear, I would make the most of it. This time I swore to myself no matter what, that I would take this dream and make it come true no matter what. At least I would know that I would give 100% effort to get the best of myself. I analyzed who I was, I cataloged the things I had to do, then I understood how to achieve it, and step by step I set a goal. Immediately, I discovered that I had the real talent in this sport, although I still needed a lot more technical work. It also became clear that my biggest

barrier was my lack of confidence.

The "I can't" had to change Champions have to believe in themselves, learning from their experiences and disappointments in life, in my case, I had developed the bad habit of saying, “I can't” therefore, I had no self-esteem.

Achieving the Olympic medal was something that seemed impossible. For the next two semesters, I trained like crazy. First for about 3 hours a day, then for 6 hours, and finally just before the Olympics, I was training 8 hours a day.

I traveled and competed in every tournament that I could find that would be beneficial. I researched and experimented with physical, mental and dietary programs. I solicited funding from local businesses, help from top coaches, and ideas from well-known competitors.

I HAD DETERMINED THAT EVEN THOUGH I WAS FASTER AND STRONGER THAN MANY COMPETITORS, I DIDN'T HAVE THE MENTAL TOUGHNESS. AND WITHOUT THIS RESISTANCE, WOULD I BE UNABLE TO WIN?

With the stamina he had, he could win a match, maybe two, but that wasn't enough. Even though I had trained like a maniac to try to increase my stamina, I discovered that I still didn't have the attitude to persevere. Once I was tired, my mind would override my body and I would walk away perhaps unsuccessful.

So I went to train with the coach of a rival athlete who knew how to encourage that part of the mental strength to the competitors, who in turn had amazing resistance and determination. Her athletes had the indomitable spirit that I didn't have..

The revelation was to conquer the mountain One of the forms of the coach's training program was to run mountains and long distances, something that I had been doing very little because I felt like I was drowning.

I had previously discovered at the New York institute where I trained that those long-distance races gave me asthma, but training with that teacher I had to run. It seemed impossible to do this satisfactorily, and over my last two efforts, I had felt too tired to run up that high hill.

However, I had to make a third attempt. Despite my determination, about a quarter of the way up, my breath hitched, my heart started pounding, I had an asthmatic reaction, and my lungs felt sick. I panicked and came gasping for air. My coach, who had been staying with me to encourage me, happened to me -I thought he was going to help me or calm me down-, but no! to my surprise he came over, put his hand on my back and started to push me up the hill. I felt outraged. He ignored the fact that I still couldn't breathe, and that I was close to despair, unbelievable!

As I stumbled forward, I got very upset and started forward on my own, grumbling with anger, trying to pull away, he followed, his hand on my back as a reminder that he wasn't going to let me stop. Fuming with rage and indignation, I kept going and managed to reach the top of the mountain.

I DISCOVERED THAT I COULD FOLLOW AND OVERCOME OBSTACLES

Although I do not deny that I felt very suffocated, I discovered that I could continue and overcome the obstacles. This revelation pontificated in my head like a trumpet from heaven.

I checked in my unconscious, that I had been thinking, “I can't do it”, “I can't do this”, “I'm going to be left out”, because I still had those negative thoughts, but finally I said to myself; "Hey!", "I can do it", "I could keep running" "I was not left out".

Her change of mind made her strong After that experience in my hard training, I always started to think that when he told me: “I can't”, I learned to replace that thought with, “I can”. Those two little words changed my life forever.

Throughout the remaining months of intensive training, I used those two words as much as possible, I now knew in my heart, that it was possible if I only believed in myself, and could only continue to take my determination for a dream.

Success at the Olympics

This knowledge "I can" became the key to my success. So much so that when I had a considerable injury before competing, which forced me to not be able to train for several days, I began to practice "visualizing" my combat movements. It got worse when it became obvious that my Olympic coach no longer had the confidence

to be a medal contender, I put my disappointment and frustration behind me, turning it into fuel for my determination to win.

The day I had to compete I woke up with my body rested, I felt in my spirit that I was ready for the competition. But, just before I entered the competition, that old fear of failure began to creep into my mind. But, as those thoughts began to take over my mind, I began to substitute the truth: "I was ready" "And, I was fine", and I took the initiative in the initial combat, and although I knew that my body was not at the 100% for the injury, my positive attitude made up for it.

I faced my toughest opponent, the athlete from Chinese Taipei in the semifinals, I knew in my heart, that I was very good to win. He knew that I had the strength, the speed, the tactics, and the determination. And most important of all, is that I really believed in myself.

The victory. Standing on the Olympic podium watching the American flag wave gracefully upwards, listening to the music of our beautiful national anthem, my heart swelled. I had already won the Olympic gold medal, I had overcome my fears, my fears, I was finally a winner. Who would have thought that a skinny, shy, lonely girl, without esteem or

confidence, would grow up and win the prestigious honor of being an Olympic champion for her country?

Who would have thought that it would be possible to make a dream come true with a vow of commitment and faith on two little words, “I can”?

WHO WOULD HAVE THOUGHT THAT A SKINNY, SHY, ALONE, GIRL WITHOUT ESTEEM OR TRUST, WOULD GROW UP AND EARN THE PRESTIGIOUS HONOR OF BEING AN OLYMPIC CHAMPION FOR HER COUNTRY?

Today the Olympic champion of Seoul 88, enjoys her life in the mountains of the American West, raising animals and living a wild and natural life, but with the firm conviction of helping people, for which she gives conferences, talks and seminars. .

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.