Krav Maga Israeli Survival System: the new Krav Maga frontier. After the success of his first DVD, Grandmaster Marco Morabito appears unprecedented in Budo International with a DVD dedicated to weapons: Morabito knowledge in both civil and military defense fields intertwines in an explosive mixture of technology and innovation. Nothing is left to chance and there are no secrets: with "experimentalis cognitio", the most common armed attacks are carefully examined paying utmost attention to every single detail. Diverse techniques with the most common weapons are analyzed, always bearing in mind that there is no such thing as a "universal pattern of aggression": the kinds of attacks are unlimited and so are the means of defense. Technique is only the basis of study to acquire and develop fluency and conscience of the movement, but the aim is that of making our defense instinctive thus shortening the time of reaction. As on the ring, we will never have the mathematical certainty of winning the bout, but we can greatly increase our chances of emerging victorious: "He who fights risks to lose, he who doesn't fight has already lost." Morabito, with his Israeli Krav Maga Survival System wants to break with the patterns and show the public something totally new, far from the regular old-fashioned techniques, emulated for decades. On this DVD, technique melts with experience and everything acquires clear and definite contours. Nothing is left at random and the most common mistakes are unmasked and analyzed. In the Israeli Krav Maga Survival System you will find an exceptional and authentic new method of self-defense.
REF.: • DVD/KMISS 2
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
"The question that sometimes drives me crazy: Am I or the others crazy?" Albert Einstein
W
here does the day finish and night begin? Everything in the Universe answers to the law of degrees. The perception of the senses is always a limited, but varies from a species to another one, from an individual to
another one. The seven "holes" of the head are known in some cultures as the seven "deceptions". And if the fact of counting on limited sensory tools were not enough, we possess in addition the capability of structuring these impressions within preconceived parameters, variable all of them in each species, in every culture, in every individual. For us humans, that we grow so slowly and depending on our parents for so many years, this stage is an opportunity to mobilize our enormous cerebral capacity, through learning, in which culture takes a value that superimposes to instinct. Such feature tends to separate us from what is innate, to build a new category that encodes the reality within the specific patterns of our environment and culture. In all of them, though, a confrontation between the two principles is generated: Nature and culture are almost always antithetical. Culture shares the same stem as cultivate. It's the result of the change from a hunter-gatherer, nomad and solar life style, to the fixed settlements of lunar cultures. Every culture is based on the taboo, and that binomial: good vs. evil, relevant vs. prohibited; as a practical reduction for the group survival, it has been very useful, however, in what concerns to exploring true knowledge and personal lucidity, it can turn out to be not only extremely inadequate, but also futile and certainly frustrating. The formation of the transferred values is the result of a lot of variables: affection, parental knowledge, feeding, stimuli, addressing, personality, evolutionary and technological level, etc. Nevertheless, we all have to fit into the patterns agreed by the group in which we grow. Nobody, whether active or passive, escapes that influence, which predetermines the way in which from then on, we will analyze the signals and information that will feed our brain, and the way to interconnect them to give them a sense. Those who are unable to carry out this task within the coherence of their own group, or look beyond the limits of what is accepted and acceptable by the consensus of their culture, will be treated as madmen. Modern psychiatry, undoubtedly influenced by the evolution of modern thought and the contributions of anthropology, began, frequently by comparison with other cultures, to seriously question these precepts. How can we possibly affirm who is crazy and who is not? And what is much more important: what does it mean to be crazy? The arrogance hiding the thought that our perception of the world is the only and correct one is the basis of all this nonsense. At the end, societies are based on rules which
"What the caterpillar calls the end, the rest of the world calls butterfly." Lao Tse
in time depend on taboos. Lucidity quickly fades when we try to fit the universe in the small sack of the structured values of our culture. We cannot put the moon in a pool however big it might be, all we can do is to gaze upon its reflection. One of the most interesting points of the initiation in other cultures is the breaking down of the rigid walls of our perception. The deep immersion in traditions and cultures - the more remote in time the merrier -, gives us the chance to look at ourselves and the world with different eyes. This renewal is not trivial, and certainly not simple. The Zen phrase superbly expresses it: "Before Zen, the mountain is mountain and the lake is lake. During Zen, the mountain is no mountain and the lake is no lake. After Zen, the mountain is again mountain and the lake is lake. " The first point after the breakdown of schemes is the need to move, which takes us out of our stagnation. All true initiation will question our comfort zone. Many people are unable to overcome this stage and acts like the scared snail that hides its horns in its shell at the first sign of danger. In a second phase, the initiated person hastily tries to fit both worlds, but under past and recognizable criteria and values. You can also get lost at this stage. Finally there comes the moment to feel really lost and to accept one's own ignorance. In the last stage, the initiated is fully integrated into the new conscience spaces and learns to recognize the true values of his or her nature, through everything positive that has survived the experience. At that time, and after several "mystical" deaths, a rebirth occurs ... "The mountain is again mountain and the lake is lake". All initiation into deep spiritual cultures generates disruptions in our consciential continuity. In many ancient cultures, "power plants" were used to break the rockiness of our perception and learn to conceive the inconceivable. This is not the case of the Shizen culture, in which I have been deeply involved in recent years, but the goals sought by these maneuvers are important in every initiation process and are achieved by other equally effective means. The fact of understanding that the world is a description encrypted by the senses and by its analyzer opens life and consciousness to considerations that native cultures would easily frame as madness. And yet, it's amazing to see how things have changed! ... information itself is not a valid divisor any longer... We don't live in linear or flat Universe, although this is what our senses tell us. When someone said that the world was round, they wanted to burn him. Science discovered the anomalous behavior of particles at the quantum level, but so far, we simply haven't been able to integrate that knowledge into our daily lives. The everyday world remains anchored in our linear and flat consciousness. The true spiritual paths, and I'm not speaking here of religions, but studies of the invisible, have decoded information on the nature of the occult, that collide head-
on with our perception. It's normal, since our perception has been shut and structured to perform other functions and to perpetuate a knowledge that has been overturned to the perpetuation of such systems, not for the awakening of individual conscience in front of the abyss of the unthinkable. In schools there is neither a subject that is called "Yourself" nor practices aimed to teach to question perception, but to anchor it in the paradigms of the group. The rebirth nowadays of ancient cultures, like the Shizen, has the force provided by the need of the collective consciousness to transgress those limits, to look into infinity with sobriety and gallantry, with the full force and the power that exists in humans, much more than flesh and bones, much more than a list of possessions. A new man arises from the ashes of this confusing time, remixed and wheedler, fruit of the graft of those old cultures in new vineyards. Who will dare? To those who do it … I greet you!
Hawaii “The system started in the early 1930’s by Professor William "Thunderbolt" Chow.”
The Inheritance of Professor Chow William Kwai Sun Chow was a true pioneer, a r evolutionar y of moder n Mar tial Ar ts. His inheritance is considered as a key deep level melody of many arts; the essence seen in Kajukenbo, Ed Parker and many others are clear reflections of this Master. Nevertheless, many a time, we have asked ourselves, what are the remaining essences of his Art? Well, here we have Grand Master Sam Kuoha, the dir ect successor of this genius and his beautiful daughter Ka imi to tell and teach it to us. They
Hawaii “Through his work you will get a clear idea where the essence is, and as we have mentioned before, it is the base, the foundation of modern syncretic styles.”
Great Masters invited us and recorded an instructional video with us that will surprise many. Through his work you will get a clear idea where the essence is, and as we have mentioned before, it is the base, the foundation of modern syncretic styles. Chow had a touch, a way of approaching real combat, where the trappling techniques and kicks at a short distance speak to us of a fight that is resolved at short distance, with powerful techniques, highly developed throws in series at high speed, a synchronized performance of pure biomechanical logic, where sharp strikes move along with continuous off balancing and where the finishing off action does not contradict with controls. It is an offensive type of style where the Hawaiian has a special way of unleashing fiery blasts as if it were his own volcanic land, "snatching" and unarming the attacker in an unexpected and decisive manner.
Great Masters Sam Kuoha is a kind man, a person who is simple and easy to approach. Hidden under his look is a light of intelligence, which opens reflecting his enthusiasm for his work. His young daughter who is highly connected with the world of cinema possesses a special mixtur e of innocence and maturity that is very unusual. As can be seen her technique is impeccable, fiercely spectacular in her actions. Her face is very expressive and she has a beautiful and flexible body, showing that she is an interesting woman who knows how to perform her techniques in the most harmonic manner. On her back is the weight of an inheritance of a system and she carries it proudly, which also includes the enormous responsibility that this means. "I am happy because Professor Chow had the opportunity of meeting her when she was a baby and he said to me, "Look Sam there is the future of our style". Kara Ho Kempo has so much of what it takes that all lovers of real contact styles can truly focus their attention on it. Her "brothers" from K a j u k e n b o , o r f r o m E d P a r k e r ’s Kenpo, should not miss this opportunity of looking back at the inheritance of Chow, a man whose genius and inspiration are alive and present through this martial lineage currently directed by Sam Kuoha and inherited by Sensei Ka imi. These are two much loved people, two Masters to keep an eye on, and a powerful style of great interest. Alfredo Tucci
Hawaii
Hawaii “The training was rigorous and painful, exclaims Kuoha, but then the joy of being able to learn more and more was just exciting.”
Great Masters History of the Chinese Kara-Ho Kempo Karate System As young William Kwai Sun Chow grew up in the lawless streets of Hawaii…martial arts was always his highest interest. He was very short in statue and therefore was always picked on constantly as a youngster. It was then that his father, an immigrant from Shanghai, China and a Buddhists priest, started to teach him the families Gung Fu System. The development of the Chinese Kara-Ho Kempo Karate System…noted, as Kara-Ho is an internationally patented system with all its symbols being trademarked. Its development began many years ago but Professor Chow had no dedicated
students, even in Hawaii, that was there all the time so he kept most of the innovations to himself. But in 1978, he decided to teach and train Grandmaster Kuoha all the facets of this great system. The training was rigorous and painful, exclaims Kuoha, but then the joy of being able to learn more and more was just exciting. Pain was not new for Kuoha who was raised by a father who was a martial artist himself and being Hawaiian was a champion in "Lua," an art that is considered bone crushing. Kuoha was physically abused all his life and then training in the temple environment which was very demanding both physically and mentally, so this was just an extension to his life. The more Professor Chow saw
Hawaii
Great Masters Kuoha train…the more he wanted to teach and teach him he did. Grandmaster Kuoha trained with Professor Chow continuously till his death in 1987 and then was advised by Mrs. Patsy Chow (Professor Chow’s widower) that the wishes of Professor Chow was that Samuel Kuoha take over the system. Tho Kuoha refused…he was told many times that he had to do this and soon he received a phone call from Professor Chow’s closest friend and advisor, Dr. Ronald Perry of Hawaii saying that Professor Chow also related the same wishes. Kuoha finally accepted and as printed on the first magazine cover of Inside Karate noted "Kenpo’s New Grandmaster" The Reluctant Grandmaster." Signed, notarized instructor’s certificate by Professor Chow promoting Grandmaster Kuoha to 9th Dan in 1984 and another one with Dr. Ronald Perry signing a 10th Dan for Grandmaster Kuoha in 1987 is in the possession of Kwai Sun Company. A record of sealed audiotapes with Professor Chow speaking about all those that have taken from him but only one remains to be true…Grandmaster Kuoha. After the death of Professor Chow, many instructors of various Kenpo styles called the main office to join the system. At first Grandmaster Kuoha refused entry to everyone who was not of a Kara-Ho lineage…but in 1988 he decided to help others obtain the purity of the only system founded by Professor Chow. Many schools
Great Masters flourished throughout the United States. but because the Kara-Ho System does not cross ranks and everyone that obtains a black belt had to work for it...many didn’t stay. From a beginning student it takes a minimum of 6-8 years of martial arts training to obtain a black belt then on each "Dan" rank you have another year for probation. A newly joined black belt that has at least 10 years in the arts could achieve this in the first year. This did not stand well with many, as they wanted an instant lateral over to Kara-Ho and the Kwai Sun Company had to dismiss more instructors then they have kept.
Grandmaster Kuoha tells all! The system started in the early 1930’s by Professor William "Thunderbolt" Chow. With rapid fire techniques focused on every vital area on the body and short, powerful strikes that will disable any and all opponents with a blink of an eye…he designed the system of Chinese Kenpo of Kara-Ho Karate which in the mid 70’s was changed to Chinese KaraHo Kempo Karate System. The system took many turns… but they were all for the "good" in the end. The changes consisted of various improvements to make it better for all. Noted by several magazine editors and martial artists all over the world as "one of the most deadliest art forms in existence," it is yet only stemmed on the basis of humility over that power with its foundation centered about internal energy. With Professor Chow…the training was hard and tough, up to the day he passed away. It was a no-holds barred system…teaching one to rely on instincts…not thought. The techniques are controlled and students are taught to build their minds and bodies to be a fine-tuned machine, ready for any confrontation. But not solely based on the physical reaction
Great Masters but more on the spiritual and mental ones first. Its system consists of learning various techniques, weaponry and forms throughout one’s lifetime. The system flourishes with leaps and bounds in today’s ever changing market when more people are searching for a "complete art" and with Kara-Ho at the top of the lists as one of the most complete street effective system ever developed.
Chinese Kara-Ho Kempo Karate System, The European Chapter The system started in England in the early 90’s but lasted only for a few short years, but was then disbanded after seeing that everyone was only out for the rank. It was not until 1999 when Sensei Stephan Fabel, a then student that had trained under Sensei Shane Thompson (regional director of Kara-Ho in Montana) had moved back to his own country, Germany, is when he decided to teach a few students. Sensei Stephan trained and opened his small school due to his rank (at that time a blue belt) and just taught a few friends. But even at his level of training at this
"I am happy because Professor Chow had the opportunity of meeting her when she was a baby and he said to me, "Look Sam there is the future of our style."
“Sam Kuoha is a kind man, a person who is simple and easy to approach. Hidden under his look is a light of intelligence, which opens reflecting his enthusiasm for his work.”
Great Masters
time, people were starting to take notice of this powerful system. His training and learning has increased with his motivation of making sure he was training with his old instructor or making trips to California to train with the people at the very top every year. He even had Grandmaster Kuoha and his family fly in one year so he could improve his training and give his students an opportunity to train with the top through a seminar and classes. His expertise increased rapidly and soon Sensei Stephan Fabel’s group of few students has grown quickly. In that same year, two instructors from Spain flew to California and wanted to join the system. Both trained, but it seemed as though there were no consistence with their training. It was soon learned that the interests had diminished and a year later Carlos, the main instructor was terminated from the system due to inactivity. In October 2001, contact was made from a 15-year veteran of the arts, Sensei Bruno Rebelo of Portugal, looking for a strong organization with validity and he wanted Professor Chow’s System. He and his students then became
members of the organization and he immediately flew Grandmaster Kuoha into Portugal to do some seminars. Much time was spent training with Sensei Bruno and a few of the instructors. Even Sensei Stephan flew in from Germany to lend a helping hand. The training was very intensive and many hours spent going over the value of being correct. Again in May of 2002, Grandmaster, Sensei Ka’imi (next Kara-Ho Leader and daughter of Grandmaster Kuoha) and Sensei John DeWitt flew in to do seminars and training for Sensei Bruno and his group of instructors and because of the dedicated time and energy put forth…they have excelled quickly. It is to be noted that even during the year, Sensei Stephan was flown in from Germany to teach and help Sensei Bruno with his techniques and forms. At the same time the organization was contacted by Sensei Santiago Gutierrez, who was one of the original instructors and Carlos’s assistant from Spain that had first come to California to join the system, and he wanted to rejoin. He and his old instructor did not get along and parted ways over a year ago and he did not know that Carlos had been terminated from the organization.
“Noted by several magazine editors and martial artists all over the world as "one of the most deadliest art forms in existence," it is yet only stemmed on the basis of humility over that power with its foundation centered about internal energy.”
Great Masters
“After the death of Professor Chow, many instructors of various Kenpo styles called the main office to join the system.”
Great Masters Sensei Santiago Gutierrez was accepted back into the system and now is the regional director for all of Spain. The dedication and excitement that we felt from Sensei Santiago was phenomenal and he will grow strong in the system, especially with other instructors helping him, like Sensei Bruno of Portugal and Sensei Stephan of Germany. Establishing a strong foothold with dedicated students was the first priority in building up Europe and that is now in place. So the only way it can move forward is with the national representatives and regional directors in place…the Chinese Kara-Ho Kempo System will flourish in Europe in the very near future. To obtain the two books written by Grandmaster Kuoha, see the website.
Sifu Alfred Johannes Neudorfer and Sifu Rosa Ferrante Bannera, founders of Wing Tsun Universe - WTU, a movement which characterizes not by the use of techniques, but of qualities, exchanges, principles and concepts of movement - focus their first DVD in Siu Nim Tao (SNT) or "9 ways". The SNT is the basis of Wing Tsun, Wing Chun and WTU. The understanding thereof is the basic condition for everything that comes after, because if you observe the way people perform the sequences of this movement, you can easily deduce what they will be able to do. If something is wrong with the movement, everything the practitioner will later develop will be erroneous. WTU movements (forms) involve inherent functions from which can derive applications. The significance of the primary movements makes them derive in other movements and to generate applications based on the principles and interactions that help to their understanding. The WTU also incorporates an extra "set" its founders considered necessary due to the current circumstances. The DVD includes the Movement (form) Siu Nim Tao, its 9 sequences and applications, sequences 1 to 3 of the first movement with a training partner (Chi Sao) and a revealing interview with the founders of the WTU.
REF.: • DVD/WTU1
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
Kapap
KAPAP: Israeli Jiu Jitsu - Excellence Excellence – Do or Bushi-do The way to Excellence By: Avi Nardia and Ken Akiyama
Unsuccessful people: Think they know it all. Successful people: Continuously question preconceived notions and learn new things. After several years of training, a martial arts student endured a long and demanding physical test for black belt. Upon completion of the test, the student kneeled in front of the old master, expecting promotion.
Kapap The teacher asked the student, “What is the true meaning of the black belt?” “The end of my journey and the reward for my hard work.” The student quickly replied. The teacher answered back, “You are not ready to graduate to black belt.” One year later, the teacher, issued the same test and asked again for the real meaning of black belt. “It is a symbol of the highest achievement in our superior style of martial arts.” boasted the student. Without emotion, the teacher answered, “You are not ready yet.” One more year passed on to the same grueling test, followed by the same question. “What is the meaning of the black belt?” This time, the student paused deliberately and took a breath, “Black belt is a graduation to the beginning of another mental, physical, and spiritual jour ney. It is the beginning of an endless endeavor of discipline and hard work. The belt symbolizes the desire to improve in all aspects as a warrior and a human being, forever.”
Kapap
A master of martial arts must distinguish oneself as a leader. Today, we see many managers in the martial arts who run profitable schools and organizations even though they are not leading their students in a good direction. Unfortunately, we also see many great leaders who fail to gain a following because they lack management skills. Worldwide, the martial arts are becoming polarized. We can see people going to the extremes in one direction, or the other. Many are missing the values of compassion and understanding as the world becomes more ‘virtual’. The media also plays increasingly influential role in our perspectives. One of the keys to being a successful leader is to assemble and maintain the right team members. In order to lead KAPAP as the world’s top Israeli system, I am constantly recruiting new, motivated members to join my team. I also work with my students to impassion them with my vision for the future of KAPAP. That is why all new instructors undergo a detailed application process and all of my registered instructors are required to participate in training camps and online training. That is how we ensure that the spirit of KAPAP is consistent, throughout the world.
KAPAP is a conceptual close quarters battle system that I originally developed for the world’s most elite anti-terror unit. KAPAP is a system of CQB that can be adapted to any mission: military, police, or civilian. As a conceptual system, I teach my team how give their students the experience, skills, and attributes of a warrior. I prefer to keep KAPAP as an open system because once any martial art defines a set curriculum, the curriculum itself becomes a limitation. We can also look at martial arts that have been directed to develop as sports and see how they lose some of their original spirit. For example, Judo is a tremendously powerful martial art, but the development of Judo as a sport required the omission of atemi waza (strikes). This is not to criticize judo because the evolution of judo from jujutsu also resulted in great developments and popularization of martial arts. However, whereas KAPAP is a system intended for combative applications, we can not afford to omit any tools from our box. Thus, while we periodically conduct training sessions based on judo rules, the definition of KAPAP means that in the long run, we will not lose sight of our original intended purpose of close quarters battle and self defense without rules.
Kapap
“KAPAP is a conceptual close quarters battle system that I originally developed for the world’s most elite antiterror unit.”
Kapap “In KAPAP, we believe that it is better to work with 4 quarters than 100 pennies and sometimes we have to dismiss instructors who fail to uphold our standards.”
“For some people, KAPAP is a very simple system study, and for others, it is impossible. The difference is determined by the heart and mind of the learner.”
For some people, KAPAP is a very simple system study, and for others, it is impossible. The difference is determined by the heart and mind of the learner. An individual who does not understand morality, teamwork, and respect will find KAPAP to be the most impossible and painful system. On the other hand, those who carry good energy and study KAPAP for the right reasons will enjoy being a member of a worldwide family of kind, knowledgable, and professional martial artists. In KAPAP, we believe that it is better to work with 4 quarters than 100 pennies and sometimes we have to dismiss instructors who fail to uphold our standards. Although we can be patient with our students, I expect my team to educate others by demonstrating professionalism, excellence, and the spirit to never give up. We recognize our KAPAP team members who successfully progress through all 4 levels as a KAPAP instructors by awarding them black belts. From the beginning student’s perspective, KAPAP is the fastest, most intuitive, and easy system. There may be no belts because the student may only train for a weekend or one month. However, for those who dedicate themselves through months and years of practice to perfect their skill and develop in all facets of KAPAP, we honor those dedicated team members with the belts. When I promote a student to black belt in KAPAP, their black belt also represents Israeli Jiu Jitsu. I lead KAPAP Israeli Krav Maga as the founder; symbolized by the blue and white belt. In addition to being a leader in Israeli Martial Arts, I also carry black belts in Judo, Japanese Jujutsu, Brazilian Jiu Jitsu and more. I have also asked Ken Akiyama to wear the blue and white belt, as he is second to myself in the leadership of KAPAP. As KAPAP continues to flourish throughout the world, I am pleased to see KAPAP techniques continue to appear in other systems of Israeli Martial Arts. Ultimately, our goal is to educate the public and make people more safe. While it would be wonderful to see all instructors achieve the standards of my academy, I still gain some satisfaction from sharing my knowledge in order to correct deadly mistakes of instructors from any affiliation. In 2017, my team will conduct a tour of Krav Maga schools throughout the world, entitled “Deadly Mistakes of Krav Maga”. Through this project and others, we hope to save lives by improving the overall state of Krav Maga and modern martial arts, at large. My academy can be contacted for more details at www.AviNardia.com.
Martial or sport katas My professional experience as an educator and competitor working with katas for many years has motivated me to write about the history and evolution of the kata that has existed for approximately three centuries. Is it a story, a legend, or on the contrary is it fact? This version seems to have been the most commonly accepted one in Japan in the XIX Century. Around that time a Master came from China and went to Okinawa as cultural ambassador. His name was Kushanku and he had created some exercises that represented forms which were similar to self-defense and this Master left us the well-known Kata, KANKU, in Shotokan, KOOSOKUN in Shitoryu and other schools in honor of his name. The Katas are like a textbook of oral transmission and they teach us the basic principles, tradition and spirit. They also maintain the differences among the various schools and the characteristics of each style, and if we observe a student performing a kata, we can say without any doubt which style of kata he is doing and which school it belongs to.
Karate-do
“All the Katas have a name and therefore a meaning that makes clear reference to its creator or to its content, although depending if they are SHURI; TOMARI OR NAHA, their meaning or the form of doing them varies but not their name.”
Karate-do “The katas were created in Okinawa between 1600 and 1950. In the beginning they were learned by a single person, who practiced them, perfected them and later passed them on to a relative of direct origin, or to their best pupil.”
“However, it may vary depending on whether their origin is Chinese or not or if the interpretation of the ideograms is Kanji or Harakana.”
T
he origins of the katas are Chinese, but we do not know for sure if those were taken to Okinawa or if they were people who after studying in China brought them back to Okinawa. Specifically, in the Shito Ryu style from Master Haysi’s school there are katas that originate directly from the Kung Fu style with the white cane, for example the HAKKAKO kata. A multitude of documents and writings from that time have been studied and in particular a document by Master OGURA, dated around 1940, where there appear some photos of Master Ryusho Sakagami who was a student of Master Kenwa Mabuni (Founder of the Shitoryu style) and a student, Gishin Funakoshi, of Master Itosu. The katas were created in Okinawa between 1600 and 1950. In the beginning they were learned by a single person, who practiced them, perfected them and later passed them on to a relative of direct origin, or to their best pupil. There was also the case where a Master knew one single kata and he developed this throughout his life. From this comes the saying: "One kata, one life", and the difference is clear from the current list of competition katas from the different schools. Starting in the Year 1700, the Masters of Okinawa: SAKUGAWA and MASTURBARU began to structure the well-known Katas and to create other new ones. Master Gishin Funakoshi was a student of Master Itosu, but he also trained with Master Azato because at that time the schools were much less closed than they are today. After having carried out a synthesis of the style, he began to give classes in Shotokan, which was originally the name of his own Dojo, calling his style Shotokai, which later due to misuse also became known as Shotokan. During this early period of Karate, Master Funakoshi, taught a dozen or so Katas and among them were the five Heian. We can probably say with some certainty that the Pinan Katas that Master Funakoshi taught his students were the same ones that Master Itosu created and taught. This way the origin of the current katas in Shotokan, whether they are Pinan or Heian, starting with Master Itosu who is the true father of modern Karate. Master Funakoshi was his student and propagator of his style.
Karate-do These Pinan katas were originally built starting from a Kata called KUSANKU that has served well as a starting point for a fractional work. The Japanese Karate Association (JKA) doesn’t have the monopoly on Shotokan as they would like us to believe. Numerous experts of the Funakoshi style teach their method without belonging to the JKA, claiming that it is too sectarian. Among them we will mention: Master Egami, already deceased, Masters Oshima, Kanazawa, Ubota, Murakami, and Harada. What differs substantially from the current number of Katas, contributed by the different tendencies or lines inside the Shotokan School are the approximately 45 Superiors Katas. These katas went through a series of variations, influenced by the systematization and militarization of the training. All the Katas have a name and therefore a meaning that makes clear reference to its creator or to its content, although depending if they are SHURI; TOMARI OR NAHA, their meaning or the form of doing them varies but not their name. However, it may vary depending on whether their origin is Chinese or not or if the interpretation of the ideograms is Kanji or Harakana. There were two classes of Kung Fu, Mandarin Kung Fu and that from the town, that is to say, from the North or from the South. There was a similar
influence in Okinawa, where there was a dominant class, that of the King and the nobility who resided in the City of SHURI, and that of the merchants and students located in NAHA, and finally that of the fishermen and farmers from TOMARI. I will try to give an interpretation of some of their names: • BASSAI DAI, this name comes from an unknown Chinese creator and its meaning is Bassai Sho or "to penetrate the strength". It teaches us how to change from an unfavorable position to another more operative one. Master OYADOMARI introduced it into Okinawa. • ANANKO: Light from the South or peace from the South were brought from the Island of Taiwan to Okinawa in 1890 by Master Chyutoku Kyan • CHINTEI: means invincible hands. It is a mysterious kata that went from the hands of Matsumura Bushi to Master ITOSU. This Kata was used to defend against spear attacks and one of its characteristics is the attack to the eyes with the fingers. • CHINTO: its meaning is fighting towards the East, or Heron on a Rock, and it was created by Master MATSUMURA Bushi, based on the teachings of a Chinese sailor named Chinto, who was shipwrecked on the Island of Ryu Kyu. • GOJUSIHO (Sho and Dai) (Useishi), means 54 steps, these steps or movements are made to represent even an inebriated man.
“These Pinan katas were originally built starting from a Kata called KUSANKU that has served well as a starting point for a fractional work.”
• JION: represents the sound of the temple or the name of the Buddhist Temple of JION JI, or the monk called Jion, which means that a monk related to the temple introduced it. It is related to the Shurite style, although they are creations of TOMARITE, together with JIIN and Jutte. • JIIN: means land of the Temple, and the name of a Saint. It is a Tomari kata whose most outstanding techniques are blocks with the palm of the hand. • JUTTE: means hands of the Temple or 10 hands, and it say that he who dominates it has the effectiveness of 10 men. The defense works against weapons, mainly in front attacks. • JUROKU: means 16 steps. • KUSHANKU; KANKU; KOSOKUN SHO OR SIHO KOOSOKUN: means looking at the sky or the name of a Chinese attaché of the embassy. It is of Chinese origin and was brought by a Master called Ku SHANKU around 1760. Later on it was modified into two versions, DAI and SHO and Master FUNAKOSHI created one based on this called KANKU. • MEIKYO (ROHAI), SHO, NI, SAN: means Mirror of the soul, clean Mirror, vision of a white heron. It is of Chinese origin and from Tomari and Master SAKAGURA took it to Okinawa. Its most outstanding technique is the posture of the crane,
used to avoid a kick and to change the weight of the body in order to carry out other attacks. • NAIHANCHI (TEKKI): means fighting on the land or iron horse. It is believed that these are older than the Pinan or Heian. They were used to strengthen the legs and to teach how to concentrate the force of the hara. • NISEISHI: means 24 steps. Its creator is unknown as is his origin; due to its remarkable similarity to the kata UNSYU, we can say that it belongs to the ARAGAKI school • PAPUREN: means 8 steps in the temple • SAIFA: means vision of a white heron • SANSEIRYU: means 36 steps • SEISAN (HANGETSU) Means 13 hands or waxing moon. It is one of the oldest Katas in use and two very different versions exist: the Naha version with techniques influenced by Chinese style and the Shurite version that had its own evolution. It appeared in
Okinawa around the year 1700. Its main characteristic is that the techniques are in groups of three. A defense was introduced against Kin Greri attacks to the testicles. • SEIENCHIN: means the calm in the storm, or the storm in the calm • SEIPAI: means 18 cups. • SEIRYU: Green sallow • SOCHIN: means a great prize and an old fighting man according to GOJU RYU and Shitoryu, and according to Shotokan, it means to preserve the peace • SHIMPA: means new break • TAYKYOKU: means basic form • TEN NO KATA: means Kata of the sky • TENSYO: means change of hands • USYU (UNSHU): means hands in the clouds or separating the clouds. It is a very old kata and has uncertain origin. Master Funakoshi mentions it in the book "RyuKyu Kempo Karate." • WANKA (MATSUKAZE): means crown of the King, or Wind in the pine. It is a Tomari
Karate-do kata. It is characterized by a chained succession of attack and defense techniques with a very powerful and penetrating gaze. In Goju Ryu there are 13 different Katas, 18 in the Shorin Ryu style, 17 in the Ashihara School and more than a hundred in the Shitoryu School, depending on each Master’s line, because as every good karate practitioner knows the Shitoryu karate School is influenced by the three most characteristic styles of OKINAWA, they are: SHURITE which is also called SHORIN and was developed in the city of Shuri, a style based on the autochthonous work of the area called "TE" and finally the school of the sable called "Jigen Ryu." The SHURITE style has the personality of its Masters and its study and structure center on Master SOKUGAWA (1733-1815) who traveled a lot to China to lear n t h e
different techniques of its styles of fighting: he created the Okinawa Te, Okinawa’s own style mixed with Chinese KENPO which were the autochthonous forms of the Island. He also created the "DOJO KUN", that are the fundamental precepts of the DOJO. Their student, MATSUMURA Bushi, created the KUSANKU Kata, and added the following katas to his teaching: NAIHANCHI, PASSAI, PILFERS, CHINTO, GOJUSIHO and HAKUSURA. He trained in Shorin Ryu, which later gave place to Shotakan Ryu, to Kobayashi Ryu and to Shito Ryu. The other line is that of TOMARITE, which is quite similar to the style of SHURITE, but whose root is in the Chinese internal style, which grants great importance to leg techniques, acrobatic jumps, and speed and agility. He was also influenced by other styles, although he has his own Katas, such as WANSYU, ROHAI, WANKAN, ANANKO. Later, he developed the other versions of ROHAI (Shodan, Nidan, Sandan), and the CHINTO Kata of China. Finally, the style NAHA, which is also called SHOREI whose work was Left: Grandmaster Yamashita runs one of the Goju Ryu style Katas, San Chin. All energy is concentrated in the Tandem and attention in a deep breath.
The Master corrects the postures in detail. The forms are the essence, which give space to correct content. Dressed in the gear of the Isshin Ryu School, Master Cantore, current Soke of Shinshinkan, corrects his student Yasuhara, principal instructor at the school.
Karate-do
“What differs substantially from the current number of Katas, contributed by the different tendencies or lines inside the Shotokan School are the approximately 45 Superiors Katas.” based fundamentally on the exercises and breathing that were beneficial for the health, like the Sanchin, Sanchin Tensyo, Seienchin katas and many others. The influence of China on the NAHA TE style is very strong as can be appreciated in the following Katas: SEISAN, SA CHIEN, which belong to the style of the Dragon, SEISAN; JITTE, SEIPAI; USEISHI (GOJUSHIHO), which belongs to the style of the Tiger or of the Dog and SUPARIMPEI that belongs to the style of the Monk's Fist. Given this panoply of Katas we should indicate which have been contributed by Master KENWA MABUNI, and they are: AOYAGI, MYOJO, JYUROKU, MATSUKAZE, and SHINSEI, this kata is based on a much older one called WAKAN, and SHINSEI, as well as some other katas of Chinese origin. Thus, in SHITORYU style the katas come from the different cities and styles mentioned: from SHURI come the five PINAN, NAIHANCHIN: Shodan, Nidan, Sandan, KUSANKU KANKU or KOOSOKUN Dai, Sho, and Nihon, KOOSOKUN. CHINTO, called GANKAKKU in Shotokan. WANSYU, called ENPI in Shotokan. PASSAI or BASSAI, Sho and Dai. GOYUSIHO Sho and Dai or USHESI, ANANKO, WAKAN or SIOFU. From TOMARI we have three original Katas from Master ARAGAKI’s line, or NIIGAKI (the line of YARA, TOGUCHI; and CHOTOKU KYAN), these Katas are called SOOCHIN, NISHEISHI or NIJUSIHOSHO, and UNSYU; as well as JION, JITTE, JIIN, TOMARI NO BASSAI, besides others of Chinese origin like: NIPAIPO; HAFFUA; PAPOOREN.
Karate-do From NAHA, Master MIYAGI of GOJU RYU bequeathed us the following ones: SANCHIN, TENSYO, SAIFA, SEIENCHIN GAKKI SAI DAI, ichi, ni. SEISHAN, SHISOOCHIN, KURURUNFA, SEIPAI, SANSERU, SUPARIMPEI, that is also called IBARIMPA and PECHURIN. In the first stage it is important to point out that the Shotokan positions were very high, rather like in the Goju Ryu style and the techniques included were not as numerous, it was more like a defense form that included thirty combined movements. We find significant a basic kata like SANCHIN, a kata for breathing and strong positions (SANCHIN DACHI), and as the unquestionable superior Kata in this style SUPARIMPEI or PECHURIN, which is the pronunciation of the Chinese characters that was given in OKINAWA. These Chinese characters represent the number 108 and two different theories exist, one of them claims that it is connected to Buddhism, where it praises the 108 passions and earthly desires. The other one says that they were 108 Masters who created this kata, but that the only thing that has been transmitted is its name. This Kata arrived from China to Okinawa more than one century ago. It seems more than a pure coincidence that a number of Chinese fighting style were in consonance with the teachings of the oldest people in Southern India who said that there were 108 vital points in the human body to attack.
“From NAHA, Master MIYAGI of GOJU RYU bequeathed us the following ones: SANCHIN, TENSYO, SAIFA, SEIENCHIN GAKKI SAI DAI, ichi, ni. SEISHAN, SHISOOCHIN, KURURUNFA, SEIPAI, SANSERU, SUPARIMPEI, that is also called IBARIMPA and PECHURIN”
Kata However, the Masters of the Goju Ryu style like Sifu HUNG of Taiwan (Master of the soft Chinese Art) consider that there are more than 108 vital points and they claim that about 350 exist and that those points fluctuate during the day depending on the season and the individual's mental attitude. The different Katas are lear ned following fixed patter ns through choreography, with different postures, movements, blows and multiple combinations of attack and defense that take approximately 1 minute or more. Beginning students are taught each detail of the different movements until they achieve technical perfection in all the diverse sequences and directions: forward, backwards, left right, right diagonal, left, until returning to the starting position. All these movements are developed in one direction and repeated on the opposite side, maintaining symmetry, inside what we call the "ENBUSEN", that is to say the line of execution of the Katas. It is also important to point out timing, focus, balance, breathing, as important points to develop in the technical performance of the Katas. Nowadays in kata championships there is no opponent against whom to fight, only the performer himself, although in an analysis of the same ones (Bunkai), there is development with one or several opponents. In fact, with respect to the BUNKAI, the current World Federation of Karate (FMK) has included it in the new regulations of the
Competitions of Katas; but this was done several years ago in the World Karate Confederation (W.K.C.), presided over by the German Dr. FRIZT WENDLAND. All movements and expressions are carried out in a voluntary, coded way and previously established fashion and there is no interaction between the different competitors that compete. It could be considered like a Psychomotor Sport. You win points and are victorious based on your technique, for skill, art and personality. On the other hand in the modality of Katas for teams, we could classify this like a Sociomotor cooperation sport, whose main characteristic is interaction with your partners who make up the team. The actions that win points are also established ahead of time and must be completed. Therefore the kata, like a sport, is an artistic expression of coordination, with established and codified movements and expressions. At the present time there are katas’ competitors who are more technical or more potent if you will, but they are also more theatrical and give more priority to setting the scene than to the intrinsic spirit of the Katas. This way different types of training is carried out in order to look for better competition results such as: • Slow and tight training to improve and to understand the technique better • Training based on the positions of the Katas. • Training of Katas, performing only arm techniques
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• Training of the Katas in groups of three in such a way that, while one of them does the Kata, the other one gets ready while waiting his turn and a third who carries out the Kata mentally. • Training in the principles of the Katas and in the rituals of the greeting • Mental training and concentration on the gestures, seen as negative if they are too expressive, and not transmitting anything
• Training in Katas that are not necessarily competitive but suppose a more arduous and more complete work, for example, if one wants to work with one’s breathing and breathing control one should do SANCHIN, with its two types of breathing: the nasal one and the abdominal one; if we want to work on breathing and the techniques of open hand at the same time we should do the TENSYO Kata; if we want to work on speed and power, we should do the JION kata.
Grand Master Miguel Angel Establés.
Master José María Martin "Mabuni" the coach of the Spanish Karate team executes the movements of a superior kata from his Shito Ryu School.
Karate-do
In various World Championships one can see a clear difference among the Katas developed by members of European teams and those of Japan. There is a great disparity of approaches in as far as their significance is concerned. The Japanese are mainly centered on concentration, in the rhythm changes and in the linkages, while the Europeans insist on power, speed, and facial expressions, rather than transmitting the deep spirit of the Kata. According to certain criteria of some Japanese Masters, they don't see why so much emphasis is put on the constant search for power, since with this the heart rhythm accelerates and this is not good. Furthermore in the Budo, in Japan, you can train from a very early age to a very advanced age and so it is impossible for an old man to abuse himself physically in this way. From a more scientific or medical point of view, is certain that similar heart accelerations can be dangerous. Heart hypertrophy is visible in the case of intensive repetitions, mainly in young people. However, there are common points between the two meanings: • Concentration of force at the precise moment • Fluidity of movements • Good basic technique • Flowing movement of the feet (UNSOKU), the way to displace the feet. • Performance inside the lines of execution of the Kata (EMBUSEM) • The visual expression (CHAKUGAN), (METZUKE) • A fighting spirit (KIHAKU) • A perfect conclusion in an alert state (ZANSHIN)
Karate-do In conclusion, we will indicate some guidelines that have arisen after numerous comparisons that we have been able to carry out; excessively low work is not necessary, and a solid, stable attitude with good awareness of the "HARA" is better. Speed and fluency of the movements, their combinations and the correct breathing, which corresponds to concentration, are all very important. In addition the changes of rhythms should not be forgotten as they permit a certain recovery during slow phases. Moreover, it improves the aesthetics and the practitioner's mental attitude. With reference to the origin of the katas as a martial art there were some technical innovations that were contributed by some Masters. The son of Gishin Funakoshi, Yoshitaka, introduced the lateral kick (Yoko Geri), and the lowest positions; he worked very intensely with the Kenjitsu, which is the most warriorlike version of present day Kendo. It is here where we find the fundamental evolution at the present time. Indeed in Kenjitsu the positions are lower, more potent and more stable and this is because this Martial Art is really practiced with sables (Katana), or with the wooden sable (Bokken), and both being extremely dangerous weapons. Yoshitaka Funakoshi wanted to introduce certain sable techniques because he thought that they would allow him to reinforce the style, to give him stability and an image of power. This image of power and these tendencies towards the low positions were accentuated much more when Karate was exported to the U.S.A. and to Europe. Westerners like all things exotic and they emphasized these attitudes a great deal and as a result we have the exaggeration that we, experts in the good art, know today. The leg techniques are usually more in the form of "KEAGE"(whip) than KEKOMI (penetrating). Tension in the face and in the breathing that is visible in such an exaggerated form should be sanctioned, with the exception of those breathing
katas like SANCHIN, SANCHIN and TENSYO. The face should reflect a certain serenity and sign of the fullness of the individual's spirit. The Kata should represent an interior force not an ostentatious demonstration of physical power. The multitude of versions and interpretations of the Katas confuse the European Cartesian spirit. Our students would like a more closed and more definitive version of the katas, but each Japanese Master teaches in a different way, this is the first difficulty, and the second one is their evolution over time that modifies certain gestures from one year to the next. Furthermore, in Japan a particular Master may present a Kata in different versions, depending on the level of the student and his mental attitude and so we see many different versions and completely opposite interpretations along the path. All this doesn't have too much importance in the East because there is a lot of tolerance in the form, however in the West judges have established completely different criteria from one nation to another. They only agree on one point and that is severity in the technical aspects of the execution of the kata and they look for small errors and pay little attention to the general performance. It is tremendously unfortunate that there is an emphasis on the negative aspect in the West. To put it another way, they look for errors rather than being influenced by the interior force that comes from a Kata, through concentration, breathing control, the visual expression, the experience, the speed, the rhythm, the stability, the power, and the combinations of the movements and a good basic technique. All of these points are important in the execution of a Kata. By way of conclusion, we would like to point out that each person’s karate is a path or a road to personal victory and not only a technique, and we refer to Karate as a "DO."
“The Chinese internal style, which grants great importance to leg techniques, acrobatic jumps, and speed and agility.”
“We would like to point out that each person’s karate is a path or a road to personal victory and not only a technique, and we refer to Karate as a "DO."
Kali is a very versatile and old system of fighting that includes empty hand as well as weapon training methods. It is a devastating Art unto itself, but when you add the Kyusho you become even more efficient, effective and advanced in disabling an opponent. Kali has always taught what is called "Gunting" for strikes to weaker aspects of the arms, in volume #1 the Kyusho added even greater potential and a perfect starting point for the Kyusho or Kali practitioner. Many arm destruction methods were demonstrated as well as Kyusho Knockouts using only the nerves of the arm. This second volume expands on these powerful Kyusho targets by working from the arm traps of volume #1 and demonstrating additional and even more powerful head targets for incapacitation of the opponent. This video compilation will bring you far more advanced skills, even if you do not practice Kali... the two methods were meant for each other. Several KO's are demonstrated so you can see the efficiency and affect Kyusho brings to Kali.
REF.: • DVD/KYUSHO 25 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
Grand Masters LEAVING A LEGACY by Grandmaster John Pellegrini
Not too long ago, I was r eading a ver y inter esting book about how the actions, inventions and decisions of certain individuals have affected our lives and even changed the course of history. One of the thesis presented was that, throughout the ages, it took a relatively small number of people to change the life of billions of human beings. Another was the controversial assertion that the majority of people that have lived on this planet have left no discernible trace of their existence, not in the sense that they had not made any contribution (although it can be argued that many actually have not), but in the sense that they have left no tangible or significant “legacy” of any kind. he first assertion is absolutely true and can be easily demonstrated just by thinking of what our lives would be like without electricity or penicillin or airplanes. What would the World look like if Hitler had won the war? What if Bill Gates had chosen culinary school? If Columbus had decided to stay home? I am sure you can think of a few hundreds of those examples; instances where a decision, (right or wrong) changed history or or that a discovery or invention suddenly improved the quality of life for millions of people. The second assertion presented, however, is not so simple and requires a profound philosophical analysis. On the surface, it appears true that most ordinary people do not leave exceptional or noteworthy legacies behind. In every field of human endeavor, we can quickly think of certain individuals that have left indelible legacies, made immense contributions or revolutionize a particular field.
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Grand Masters Arts, sciences, religions, politics, technology, entertainment, sports, and just about every area of human activity has seen the emergence of a few very special individuals whose legacies have become virtually immortal. For instance, if you think of music Beethoven, Mozart, The Beatles, Michael Jackson, Elvis Presley, Luciano Pavarotti, or Stevie Wonder, may immediately come to mind (depending on your particular taste) and, of course, we could mention a few hundreds more. But think of how many millions of people around the World have played an instrument or tried to become singers just over the last few centuries and you’ll grasp the point. There is a reason why, when we think of any particular field, certain names come to mind: Julius Cesar, Plato, Leonardo da Vinci, Winston Churchill, Michelangelo, Shakespeare, Abraham Lincoln, Albert Einstein. It is because their undeniable legacy is still with us and probably will always be. But there is much more beyond these obvious observations to the concept of “legacy”. It can be argued that there are different kinds of legacy and that, to a certain extent, almost every person leaves at least a trace that can be viewed as their personal legacy even if it does not extend beyond the confines of their immediate family or small community. But those who postulate that opinion, may be confusing leaving a “memory” (even an exceptionally good one), with creating a legacy. It can also be proposed that just having children constitute a legacy and, in a sense, it is true. Ultimately, our children are the most tangible trace of our existence that any of us can leave behind and most Martial Arts
Combat Hapkido “So, what about the Martial Arts? Do we have real, legitimate legacies we can point to? The answer, although maybe in this case a little biased, is an emphatic yes!”
“The very essence of the Martial Arts is rooted in the legacies left to us by the various Founders. And later, through the centuries, the contributions (again, some tangible, other more esoteric) made by daring pioneers, creative innovators, authors, fearless champions and famous Masters have built upon the Founders’ legacies and, in turn, became new legacies of their own.”
Grand Masters leaders, who have seriously dedicated their lives to the Arts, wish that their children follow in their footsteps and carry on their legacy. But that, although somewhat more common in Asian cultures, seldom happens in Western societies. And I can offer my own personal story as a perfect example: my only son, Frank, is at the University of Wisconsin studying to become a medical doctor. When he was 5 years old I placed him in a TaeKwonDo program in one of our affiliated schools. After a couple of interruptions in his training due to our relocations, he switched to Combat Hapkido, the style that I founded. He was never “passionate” about the Martial Arts, but he promised me that he would honor his commitment to earn his Black Belt. And he did. But he was never interested in continuing beyond that or becoming involved in the business aspect of our International Martial Arts Organization. And for that, I am actually grateful because it is definitely not easy to have a successful, full-time career in our field! Although my son will not carry on my legacy, I am incredibly proud of him for the path he has chosen. But getting back to our analysis of what constitutes a legacy….. In this context, I will refer strictly to a “professional” legacy and I believe it to be something that we leave behind for the benefit, knowledge, use or enjoyment of future generations. It can be intangible like a philosophy, an heroic act that inspires millions or a political ideal. And it can be tangible, like a painting, a book or a business. It can be an exciting technological innovation, a great song or a new medication. All those things represent someone’s legacy to humanity. So, what about the Martial Arts? Do we have real, legitimate legacies we can point to? The
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“Who can ignore or deny the legacies left by hundreds of legendary Martial Artists who have enriched us, inspired us, motivated us and affected us in so many ways?”
Grand Masters answer, although maybe in this case a little biased, is an emphatic yes! The very essence of the Martial Arts is rooted in the legacies left to us by the various Founders. And later, through the centuries, the contributions (again, some tangible, other more esoteric) made by daring pioneers, creative innovators, authors, fearless champions and famous Masters have built upon the Founders’ legacies and, in turn, became new legacies of their own. In fact, even those of us who have created our own “eclectic” styles, owe an immense debt of gratitude to our original teachers and their legacies. We have been truly standing on the shoulders of giants. Who can ignore or deny the legacies left by hundreds of legendary Martial Artists who have enriched us, inspired us, motivated us and affected us in so many ways? We think of Bruce Lee and how it has touched the lives of millions around the World; Prof. Jigoro Kano founder of Judo, a martial art that became an Olympic sport; Grandmaster Jhoon Rhee who introduced TaeKwonDo in the USA in 1956; General Choi, Hong Hi, the founder of TaeKwonDo, the most popular Martial Art in the world with about 120 million practitioners in over 170 Countries; Grandmaster Ed Parker who made Kenpo extremely popular and his student, Grandmaster Jeff Speakman, an accomplished action film star who is carrying on his legacy while building his own; legendary champion fighter Joe Lewis; Grandmaster George Dillman who pioneered the use of pressure points in self-defense; Gichin Funakoshi, the “father” of modern Karate; Morihei Ueshiba, the founder of Aikido, who continued to teach and impress audiences with demonstrations of amazing skills while into his 80s…..and these are just a few examples from the vast treasure of Martial Arts legacies we have been privileged to receive. After all, this is just an article, I am not writing a book. However, this review would not be complete or accurate if I did not include another category that, although considered by many in
“The skills, character and loyalty of the students are a true measure of the quality and ethics of the teacher. And, ultimately, the most valuable and enduring legacy.”
Grand Masters the general public as “just entertainment” is composed of a group of exceptionally talented Martial Artists who have left or will leave undeniably important legacies. In this category we will find Martial Arts film stars such as Chuck Norris, Steven Seagal, Jean-Claude Van Damme, Jackie Chan, Cynthia Rothrock, Jet Li, Wesley Snipes and the already mentioned Bruce Lee and Jeff Speakman. Their immense contribution to the popularization and positive portrayal of the Martial Arts is their undeniable and enduring legacy. I can even think of a very unique case where a nonmartial artist actor created one of the wisest, funniest and most human martial arts characters of all times…I am referring, of course, to the late Pat Morita who played the beloved Mr. Miyagi in “The Karate Kid” film. I feel privileged to have had the opportunity to meet this great actor in person in 1995 at a Martial Arts event and I can tell you that he was very funny even “off stage” and refreshingly honest by admitting, in our conversation, that he had never taken a Martial Arts class in his life. In my opinion, Pat “Mr. Miyagi” Morita has left us a truly beautiful legacy. So now it is our tur n… presently Masters, Grandmasters, Founders, Teachers of the Arts… will we leave a legacy for future generations? And if so, what kind? We have discussed how in our personal lives, our children are the most important, tangible legacy we leave on this planet. In our professional lives as Martial Arts, the books we have written, the DVDs showing our skills, our degrees and titles, the Hall of Fame Awards we have received, the magazine covers we have been featured on or the parts we played in some films are all part of our legacy. But I will submit to you that the most important legacy of a true Martial Arts Teacher is a “living” one and it resides in his or her students. The skills, character and loyalty of the students are a true measure of the quality and ethics of the teacher. And, ultimately, the most valuable and enduring legacy.
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“So now it is our turn… presently Masters, Grandmasters, Founders, Teachers of the Arts… will we leave a legacy for future generations? And if so, what kind?”
“Some teachers will be the detonator to our real motivation to progress, even if they remain with us a very little time.”
Paying tribute to our teachers During his martial path, each of us met many teachers who mor e or less influenced our practice and our progress. However, I find it absurd to see that more and more practitioners hide some parts of their path, deliberately or not. Yet, even if some experiences have been painful, we must not ignore our entire path ; indeed, each stage has its importance, and this is what made us who we are today.
Jeet Kune Do “Indeed, we often forget that the teacher is a guide who will help us to get to know ourselves totally, in order to reach our goals set at the beginning of our practice.”
he good and bad trials encountered during our path, shape our personality, our ability to overcome problems, and thus make us become stronger mentally and physically. The martial practice requires to meet several professors who will help us to progress and to find the teacher who will be able to guide us and who will meet our expectations. Indeed, we often forget that the teacher is a guide who will help us to get to know ourselves totally, in order to reach our goals set at the beginning of our practice. Therefore, teachers will come gradually in our path and in our life, in accordance with our needs and our research, at very specific times. Some teachers will be the detonator to our real motivation to progress, even if they remain with us a very little time.
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“Our teachers should feel our respect, just by seeing gratitude in our eyes.”
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These teachers are often and deliberately forgotten by the students, in order to make believe that they shaped their personality alone, during their path. But how can we create a masterpiece without matter ? These practitioners, too proud and full of themselves, who want to have people believe that they are genius pooped out of the blue, are actually practitioners missing the authentic martial values : respect, gratitude, self-denial, humility, acceptance of others, compassion, mutual assistance ... The martial art is used to shape us and allow us to get to know ourselves, and if we must be better than one person, it is ourselves. Indeed, getting to know oneself allow to become a better human being, who will help one's fellow being and will use violence as a last resort, and not every time that one won’t get what one wants. The pain during training makes us understand that pain is respectful, and without it, it is impossible to push back our limits. In no way, pain can be used to be glorified, or to pretend to be better than others. Our worst enemy is ourselves, every time we push back our limits, we know we can go even further.
“Paying tribute to our teachers is an integral part of our path, defined by trials, deceptions, reassessment, and perpetual renewals….”
Jeet Kune Do Yet, without the help of a professor, it is impossible to push back our limits efficiently ; because of our conservation instinct and even sometimes our laziness that will allow us to be self-satisfied with our little performance and thus to pretend to be a lot more efficient than we really are. The teacher, who works with us, knows us and will always know if we really push back our limits, or if we just put on a show in front of others, in order to glorify ourselves towards them. This is more and more common, and this is absolutely sickening, to see practitioners deny their teacher because he brought to light the lack of motivation and the few progress of his student. This comes from the fact that a lot of practitioners are not passionate by martial arts and combat sports anymore ; they just want to teach to make money and be idolized par their students, or become champions without doing the job and the necessary privation to obtain titles. Our disciplines became jobs, rejecting the real passion and self-sacrifice to reach the top. Shining before all is absolutely not the goal of a real practitioner. On the contrary, the martial artist only wants to surpass himself, without witnesses. The only goal is doing better than yesterday, without the need to prove it to others, just to progress by the sweat of our brow, forgetting the pain, in order to always keep moving and honor our teacher’s trust. Teachers may be numerous during our practice, but it does not mean that we respect one more than another. Every one of them is a link of our path and of our evolution, we must be grateful for it constantly. Unfortunately, a lot of practitioners are actually just products of the consumer society, who did not understand the martial values, and take teachers like objects, that we throw once we do not need them anymore. Whatever the level of these practitioners, they will never get what they claim, meaning the Master level, or the
ultimate champion level. Indeed, these titles can be achieved only after a persistent work during long years, without waiting or requiring a result in return. No ! The real practitioner trains, reassess himself, and respects above all the ones who helped him shape and become better than he was before. We must never forget those who helped and guided us, because without them, we would have stayed at our starting point. Paying tribute to our teachers is an integral part of our path, defined by trials, deceptions, reassessment, and perpetual renewals …. On our path, we are helped, supported, pushed by our teachers, who motivate us even when we think that we’re bad or incapable. They are always here to motivate us, but also to assume the difficult part to let us know when we let ourselves go, when we become lazy, and when we pretend to be better than we really are. Paying tribute should not only be made by written words, but daily, by our presence by their side, and by our permanent support, by the respect of their decisions and of their words, and in every act in our life. Our teachers should feel our respect, just by seeing gratitude in our eyes. I want to finish with these words destined to my teachers, from the past, and in the present: without you, I would have never been where I am now. I am not better than anyone else and I am not a master, but thanks to you, I became a man who can look himself every morning in the mirror. Thank you from the bottom of my heart for everything you’ve done, I will never forget, and I will never forget you. I count on you to always push me further and never let me become a man full of myself. I will always respect you, I will never forget you, and I love you like my family.
“...without the help of a professor, it is impossible to push back our limits efficiently.”
“Paying tribute should not only be made by written words, but daily, by our presence by their side, and by our permanent support, by the respect of their decisions and of their words, and in every act in our life.”
The Shizen people emerged as a culture on its own in the XII-XIV centuries of our Age, on the island of Hokkaido, in Japan, around 4 villages, as the result of the confluence of rebellious peoples to the advance of the Yamato invaders. They developed a rich, unique and peculiar culture that has survived to this day, and which encloses much of the knowledge that ended up permeating the Japanese culture, as their knowledge of the energies known as Tengu. Also they were able to keep their own language and their knowledge, that was handed down from Master to pupil up our days, being a case of resistance to acculturation unique in such ancient cultures. Studying its roots is connecting with a Universe of knowledges of a pure root, inserted into Japan's culture, which will open to lovers of authenticity a larger way of understanding its traditions.
Courses by videoconference about the wisdom of one of the most ancient peoples of deep and unknown Japan 1) Introduction to Shizen culture. 2) Philosophy, Psychology and Cosmogony of Tengu. 3) The Arts of the Knowledge of Energies. 4) Introduction to E-bunto ( "The great strength"). 5) The Shizen Healing Arts. 6) The Paths of the "Strength" 7) Sociology: The Shizen Social and hierarchical organization. 8) One language, one people. Shizengo. 9) Japanese Shamanism.
Keysi
“In Keysi we never stop learning, much less imagining.” Justo Diéguez Budo International: Why Keysi? Justo Diéguez: In an article I mentioned that in order to understand the Keysi method, we must first understand who we are, in a physical, mental, emotional and spiritual way. It's a question that is too often repeated, the same question and the same answer; perhaps with different words, but without losing the goal of the why. Keysi is a unique adventure, perhaps the greatest adventure of our lives, the most important challenge we will ever face. The real question is who am I and where am I heading? That's what Keysi is all about, to travel to that unknown world that is our inner self, get down to the roots and discover that stranger that we are each of us.
“No! Keysi is not a system; Keysi doesn't belong to the world of limitation, where the technique is immune to the passage of time. Keysi is a method of personal growth that evolves in each person, and we are the ones who adapt to the situation, not the situation to us.”
Keysi
B.I.: Roots and consequences. J.D.: None of this would be possible without the roots of Keysi, and these are based on its code of ethics, an uncompromising and disciplined code to ourselves, without fissures. Only this way can we enjoy what we do, and to enjoy something it has to be fun and when you're having fun you are relaxed; that energy is contagious and spreads on each of us in Keysi, and why is it important to be relaxed? Simply because if we believe that speed is important in combat, being relaxed is the key to that speed; but even if you are relaxed and fast, you have to be smart enough to know how to handle the situation, and to be functional you must be patient and be able to wait without hurries in order to get to feel the time to get into action.
“One of the most important things that are transmitted in Keysi is that the technique is only a means to understand our abilities and our weaknesses, a means to recognize ourselves and make our abilities keep on growing transforming our weaknesses in skills.”
Keysi
B.I.: Is Keysi a system? J.D.: No! Keysi is not a system; Keysi doesn't belong to the world of limitation, where the technique is immune to the passage of time. Keysi is a method of personal growth that evolves in each person, and we are the ones who adapt to the situation, not the situation to us. Keysi educates you to recognize your natural tools and teaches you how to use them so that you can be always selfsufficient, not to go around taking from here and there. In Keysi you learn to recognize your physical, mental and emotional self. Keysi teaches you how valuable we are each of us, and is when you find out that is the person who imposes limitations, and not the method. The mind itself is pure technique; a "mental" person analyzes each of his or her movements, tries to develop a perfect technique or seeks to get as close as possible to that technique, a technique that has been passing down through generations, from
Keysi
master to pupil and so on, and in a superficial way, because the mind is only a passage through which you can feel your body. Keysi develops in no-mind; is not a thought, is realization. Those seeking spontaneity through the mind, no matter what they do, will never achieve their objective; it's simply impossible to get nowhere being the mind the anteroom, so it will be just a movement based on a thought and followed by an action. B.I.: So you're not the technique? J.D.: One of the most important things that are transmitted in Keysi is that the technique is only a means to understand our abilities and our weaknesses, a means to recognize ourselves and make our abilities keep on growing transforming our weaknesses in skills; to understand the difference, you must start tearing down myths and legends that are impassable walls demanding from you an incredible physical strength, as well as elasticity and flexibility, and of course, to be young. This is OK for a person who wants to be a competitor, where rules make the difference between sports and street.
B.I.: Keysi and action? J.D.: We can only get to action without creating mental barriers, and recognizing our real tools each of us; only in this way we will be able to achieve the real physical, mental and emotional expression without adaptations or copies; and only without barriers we'll be able to discover the Soul of the inner warrior within each person, where emotions are recognized; that's right, recognized, not controlled. And these emotions act and work to protect us, not to destroy us. Let me give you the example of "fear": if it gets hold of us, it will govern us in a tyrannical manner, controlling every part of our being; when fear drags you it affects everything you do and also prevents you from doing anything. We have to see fear as an ally and not as an enemy.
Keysi
Being afraid is not being against action, rather, being afraid is being part of the action; when you are aware of it you are quite surprised, you stop being dragged by the stream of fear and you start surfing on that emotional state; I'm not telling you a tale, we all carry that warrior within all of us and we just need to get to him; we are all a diamond in the rough that just has to be polished and let it out. But at the same time, let me tell you that it will be a long and hard work of introspection.
Keysi
“Being afraid is not being against action, rather, being afraid is being part of the action; when you are aware of it you are quite surprised, you stop being dragged by the stream of fear and you start surfing on that emotional state.”
WingTsun
Taos Academy Conscious or Unconscious Part II
Continuing with last month's article... Considering conscious training (understood as the aptitude to train the techniques and tactics of the system in a scenario of control or domain) as a very important part for the improvement of the practitioner's skills and attributes on the one hand, and on the other the unconscious part, or the way to train elements often forgotten in the practice (such as the functioning of the "automatic answers" brought about by the neuromuscular system and the reflex movements themselves of the human being), we intended in last month's edition to explain to our dear readers and followers about the importance of achieving systems that bring near and balance these two basic items of any system of Martial Arts.
WingTsun
W
e are in a rather complicated dichotomy because we cannot say which of the two parts is more important. On the one hand, it seems logical to think that technique and strategies are the basis of any serious fighting system (it's actually so), but on the other hand, we are certain that the appearance of the "tension" element, produced in the stress response, is a determinant factor in all types of combat (be it Sports or Self Defense). The extreme tension, provoked by the action of adrenaline, places us in a situation completely different from those we can simulate in our training in a gym. I'm sure that anyone who has ever felt anything of the like in his or her life will know exactly what I am trying to explain in this article. We can simulate many different situations of stress, intensity and strength, but we cannot in any way introduce in our scenarios the reality of a situation in which adrenaline changes everything. Even in contact sports, and perhaps because of the "scenic fear", some competitors, completely discouraged, haven't been able to demonstrate their quality, being literally "paralyzed" by this situation in which, the worst traveling companion, the UNCONSCIOUS, begins to speak to our mind... So we could say without fear of contradiction, that although technical training will make us grow
WingTsun “In real fight... you cannot choose what to do. You only can adapt and fight in the positions that your enemy proposes or where the fight itself takes you...”
as practitioners, if what we finally want is to reinforce our fighting capacity, we will have to perform workouts focused on the development and control of these elements of the unconscious training. Of course it is not an easy task, as I say, it's not possible to recreate this situation in the training hall, although we can start doing exercises that may at a given moment put a little help, if the time comes in which we are in a situation as described in the preceding lines. In our first article on this "conscious or unconscious", we launched in parallel a video on our Youtube channel in which we showed very simple exercises (student first level) where we began to work in conjunction some events related to the structure training and the straight fist of Wing Tsun, but at the same time, we eliminated the controlled pace and submitted the student to a lack of awareness of the "when", to generate the feeling that I can't control the "WHEN will my adversary attack me". In this article we will continue insisting on this concept, and to this end we will try to convey our dear readers and followers the importance of understanding a maxim of the fight that says: We CANNOT CHOOSE the scenario or the position! This categorical statement is based on experience in the FIGHT. A few
days ago, chatting with an excellent practitioner of Brazilian Jiu Jitsu (sport of which I recognize to be completely "in love") gave me a reflection which I admit it got me thinking very deeply about how it should be trained any fighting art. The sentence in question was saying something like this ... "In real fight... you cannot choose what to do. You only can adapt and fight in the
positions that your enemy proposes or where the fight itself takes you..." This concept, that shows us clearly the way of focusing the practice and the life of any "taoist", and that it will not always be easy to assimilate; I believe this concept to be essential and no doubt, a good basis to focus any training situation.
WingTsun “What usually discourages a practitioner in a real situation is not the techniques, but the body's response under pressure or loss of stability or control.”
Taos Academy To the question that many of my advanced students ask me: "But then ... Shall we stop training Drills or Sections?” The answer is simple: NO What usually discourages a practitioner in a real situation is not the techniques, but the body's response under pressure or loss of stability or control. Therefore, if we stick solely and exclusively to the technical work in Wing Tsun practicing Chi Sao sections, Lat Sao or displacements, we will be only practicing the conscious part. In my opinion, this part should be the first one of the learning stage of the style. In the early grades it is important to grow in CONFIDENCE and mastery of techniques in scenarios where there is not too much stress or intensity. It is precisely in the middle and advanced levels where we must begin to bear in mind the training of the UNCONSCIOUS response. To the question, what shall we do if we want to give a boost to the combined training of both elements? surely many will have excellent answers with great opinions and ideas to improve, but if we think a little about it we'll realize that it is definitely not easy. The main problem is the failure to train with adrenaline in the blood ... I mean, any simulated workout, regardless of its duration and the intensity with which we can carry it out, is not even close to the feeling of havoc that provokes the adrenaline discharge in our body when the feeling of real danger puts us in a real combat scenario. It's a feeling that has even destroyed some of the best athletes in history. One thing is to fight in a ring among friends, and quite another to stand in front of thousands of people, television cameras and many expectations and a high self-demandingness. These are some of the proposals to start working in the correct direction to improve this situation: - To the exercises in which there is no pace does, or the pace itself is changeable, as we were speaking in the video of the first article, it must be introduced the "surprise" concept, as an element that forms part of the combat itself. That is, we can be practicing any Drill and suddenly be surprised by a hard and fast movement, something that stimulates our unconscious response and therefore the need to respond to that "emergency". On the other hand, training in clear inferiority should become a compulsory subject. In this second chapter we will discuss precisely about it (See Video). Seeking places, for instance, with little space or where our movement
WingTsun “On the other hand, training in clear inferiority should become a compulsory subject.”
Taos Academy capacity is not too large. In that case, our body must lear n to respond using twists and small movements to avoid being hit ... or, after being hit, not to lose our own structure. To that end, we will generate situations in which we won't be able to control practically anything but our own structure and we'll be forced to react in a practically unconscious way to the incessant assault of our training partner. - The second of the elements that we must bear in mind is the training of simple STRUCTURES. This point can tur n out to be surprising to many people, but I will try to reason them in a best possible way the why of my statement. My experience in actual combat has placed me in situations where the great tension has reduced my neuromuscular coordination ability to a minimum. That is, although I have good coordination and I am able to perform more or less complex exercises because of my years of training in Martial Arts (and especially in Wing Tsun) in real situations, the high tension caused by the discharge of adrenaline (natural protection mechanism of human beings to avoid pain and to produce force and speed in an instant) DOES NOT ALLOW the accomplishment of too complex movements. There are numerous studies in different
WingTsun fields of sports and security, but after consulting some experts in the use of firearms (a field in which there are highly professional studies on the action of adrenaline and stress), all conclude the same way: ONLY very stable positions and simple movements can be carried out in high-stress situations. - Training in reduced spaces. The capacity of adjustment to any situation of the human body and brain is very surprising. In our LAB by TAOWS Academy, we perform different types of tests and experiments on the Wing Tsun system and our attempt to approach a realistic way of practice. In addition, the Wing Chun system is perfectly suited to this kind of circumstance, but is not trained in that scenario too frequently. We like to do some drills with total lack of space. This type of training helps us to practice two of the points indicated in the two preceding paragraphs: -Training of the "surprise" element. -Training of "simple" movements. But also it helps us to see how after some first exercises, the body (controlled by the brain) feels very depressed. Lacking space for movement, it tends to block and not make the indicated movements. But after a little training, these same exercises begin to be carried out with absolute naturalness, even closing the space to the maximum. It is one more proof of the of adjustment capacity of our body to many elements with the correct training. (See video with some examples) These are only a few tips to start searching little by little that balance between the conscious and unconscious training. I am quite sure that many of our readers will have many good ideas for improvement. The question is finding that BALANCED training among Technique, Tactics, Structures and Unconscious Reactions. If we succeed, we will have taken a big step in improving training methods And you, how do you train? We will be happy to receive your feedback and comments on our email: info@taowsuniversity.com Salvador Sánchez TAOWS Academy
Taos Academy
What happens when two people practice Chi-Sao, what is the meaning of their practice and what the objectives? In this 3rd DVD, "Chi Sao from the base to an advanced level," Sifu Salvador Sánchez addresses perhaps the most important aspect of Wing Chun: ChiSao, the soul of the system itself, which provides the practitioner with some special characteristics which are completely different from others, and gives him great virtues. This role deals with some aspects quite basic in principle, but as you delve into them, they'll be surprising to you. It is a very clear feature traditional Chinese culture; what it's very obvious at first glance, it nevertheless contains a second or third reading, which will surely change your approach, practice and understanding. We will discuss how to practice Chi Sao through our working drills and how to apply those drills, that ability in a sparring, linking certain concepts, perhaps not so much tied to traditional Kung Fu, such as biomechanics, structures, knowledge of physics, etc., in order to obtain better results in our practice.
REF.: • DVD/TAOWS3 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
Koppojutsu... The principle governing the cause! If someone asked me what kind of twists or joint locks I believe to be more dangerous, undoubtedly I would answer: the advanced part of Koppo. The perfect anatomical study enables us to measure the result caused by certain twisting techniques. he first stage of the Koppo studies corresponds to the initial twisting movements and relate to the methods orientated to fractures in angles, considered simple or primary. They certainly correspond to what is taught in the Shoden graduation. After that, you can verify that the angles suffer slight alterations in the distancing of Tori's body with respect to Uke. That supposed withdrawal provides a greater extent in the twisting applied, which interacts with tendons and micro joints. Some of today's teachers delay that type of learning leaving it for the Okuden graduation, due to the existing risk during practice. For many scholars, even though we don't know to what extent they are fallacies, Koppo relates to schools and families who had an unclean spirit, oriented only to destruction. Such discussion has provoked disagreements among important schools of the martial circles, which barely see Koppo as just another art in the Bugei learning frame. Aside from discussions, the truth is that such a practice should be carried out carefully and under full guidance of an experienced teacher. The possible injuries, no doubt, would need a long time to regenerate and in other cases, according to a friend of mine who is an orthopedic, even with the help of surgery, it would take years and years to return to the original shape. Because of this danger, many masters decided to withdraw this part of their training syllabus, leaving Koppo practice restricted only to what refers to the Shoden.
T
Kaze no Ryu Bugei
“Ko - bone; Ho - method; when put together, the Ho becomes Po and reads Koppo.”
After ten years of apprenticeship, Tenno achieved the title of Zen Master. One rainy day, he went to visit the famous master Nan-in. When he entered the monastery, the master received him with a question: "Did you leave your flip flops and your umbrella in the shed?" "Yes", replied Tenno. And the master continued: "Tell me then if you put your umbrella to the left or to the right of your shoes?" Tenno couldn't answer the "koan", understanding that he had still not achieved the full attention, so he became Nan-in's pupil and studied under a guidance of his new master for ten more years. It's been a long time since this method of attacking the bones, translated as "Bone method" (Ko - bone; Ho - method; when put together, the Ho becomes Po and reads Koppo), became irreverent and remarkable. So, we will highlight some features of this form of expression. Differently from the other arts using Kansetsu no Gikk as an artifact, the Koppo always highlights applying more than a twist in the same place, being mostly unlike the first one. Their forms emphasize techniques in Kudaki, Shihi, Jime and to this end, it is received a special study, which mostly translates as SaYu no Kudaki, JoGe no Kudaki and, in the case of Yubi (fingers), Take no Kudaki. Some masters presented versions in Gatami or Garami, but moder n nomenclature is not characteristic of Koppo, being perhaps an adaptation to the old ways applied. Thus, this modern nomenclature may represent a RYUHA, that is, a faction of the original RYU.
Kaze no Ryu Bugei Let me explain the feature of such breaking. In the case of the techniques applied in the hands and fingers, the proximal row of carpal bones - in anatomical position and from lateral to medial - consists of the scaphoid, semilunar, pyramidal and pisiform bones. In turn, the distal row consists of the trapezium, trapezoid, hamate and capitate bones. The carpal bones, as a whole, possess an inner cavity, that becomes the carpal tunnel or carpal canal, which is the passageway on the palmar side of the wrist that connects the forearm to the hand. It is fixed laterally to the scaphoid, in the middle to the trapeze and immediately to the pisiform and to the Hamate bone. The importance of the carpal canal is due to the passage of the median nerve inside it. To the carpal bones follow the metacarpals, five long bones in miniature, numbered from the side face. The head of the metacarpals are their distal extremities, where they articulate with phalanges. The carpal bones, as a whole, possess an inner cavity, that becomes the carpal tunnel or carpal canal, which is the passageway on the palmar side of the wrist that connects the forearm to the hand. It is fixed laterally to the scaphoid, in the middle to the trapeze and immediately to the pisiform and to the Hamate bone. The importance of the carpal canal is due to the passage of the median nerve inside it. To the carpal bones follow the metacarpals, five long bones in miniature, numbered from the side face. The head of the metacarpals are their distal extremities, where they articulate with phalanges. The thumb has 2 phalanges, proximal and distal. The fingers have 3 phalanges, proximal, middle and distal. The phalanges of the thumb are shorter and longer than those of the fingers. The proximal phalanges are longer, while the distal ones are the shortest. In short, such techniques were developed in ancient times, with the final goal that fractures didn't have any possible arrangement. In other words, it was a way of retiring soon a warrior.
"SaYu not Kudaki", as I mentioned above, is a form that involves breaking the bone on the same spot, to the right and to the left. The forms of hand positioning and the techniques used are typical of the Koppo, that mostly follow a sequence of twists, not being restricted to a single attack. Such properties accounted for an adaptation of the forms previously practiced in Jujutsu and Aikijujutsu, so that these could also use their resources. The ways in "JoGe no Kudaki" are most commonly used in stronger and more resilient joints, looking for a fracture on the very spot, above and below. As an example, we will study the fits and bone endings to facilitate my explanation: The clavicle, associated with the scapula, composes the scapular waist, which connects the upper limb to the axial skeleton. The scapular waist articulates with the sternum and the upper limb. It has great mobility to meet the needs of arm movement. There are two collar bones or clavicles in the human body and resemble an "S" when seen from above. They are located in the basis of the neck, specifically in the thoracic-cervical conjunction. Their three main functions are as follows: act as a support in order to keep the upper limb free from the trunk, so that there is maximum freedom of action; provide attachments to the muscles; and transmit forces from the upper limb to the axial skeleton.
Scapula There are two scapulae or shoulder blades in the human body, which are placed on a posterolateral aspect of the thoracic cage, covering parts from the
“In short, such techniques were developed in ancient times, with the final goal that fractures didn't have any possible arrangement. In other words, it was a way of retiring soon a warrior.”
Kaze no Ryu Bugei
second to seventh ribs. They are triangular and flattened bones that connect the clavicle to the humerus. They are widely mobile and they have head, neck and body. The front surface (or rib) of the scapula is concave (subscapularis fossa); its rear surface is convex and it's where the spine of the scapula emerges. A smaller portion, above the spine, is called supraspinal fossa, and the biggest portion, below the spine, it is the infra-spinal fossa. The spine continues laterally in a flattened process called acromion, which is projected forward and articulates with the collarbone, providing attachment to the arm muscles and chest .. The articulation with the humeral head is made through the glenoid cavity, a shallow pyriform, articular surface, which is located on the upper lateral angle of the scapula. The coracoid process resembles a bird's beak. It originates from the upper edge of the head of the scapula, projecting upward and forward, and passing under the collarbone.
Humerus It is the largest of the upper limb bones. Its smooth and spherical head articulates with the glenoid cavity of the scapula. Near the head are the major and minor tubers, for insertion of the muscles of the rotator cuff. Its shaft is long and thin, having an oblique and flat groove for the radial nerve.
“Crushing, as is the translation applied to the term Kudaki, means destroying that bone internally. In this case, masters first studied every possible fit of the bones and their connections. In this way it would be easier to direct their attacks.”
Kaze no Ryu Bugei The humerus distal end is laterally and at the center expanded, and it participates in the elbow joint. The trochlea (medial articular surface) is set to the die-cut notch of the ulna, which turns on this pulley when the elbow is bent. Immediately near the trochlea are the coronoid fossa and the olecranon fossa, which accommodate corresponding parts of the ulna. The lateral articular surface is slightly convex.
Ulna The ulna in the longest forearm bone, which articulates with the humerus at the elbow, and with the radius and the carpal bones in the fist. With the arm in anatomical position, the ulna is immediately located. The olecranon and the coronoid process fit into the trochlea of the humerus, in the same way in which the wrench wraps a pipe. The proximal end of the ulna is larger than the distal end, which is called head, and is small and round. The side surface of the coronoid process has a radial notch, disc-shaped, small and shallow, for the head of the radius. The ulna body is thick at the proximal level. Its prominent lateral edge - interosseous edge - is where the interosseous membrane is fixed.
Radius It is the shortest of the forearm bones, and is located laterally with the arm in anatomical position. Its name comes from the resemblance to the radius of a wheel (from Latin: radius). The proximal end of the radius has a disk-shaped head, smooth and cylindrical. The radius body increases in size from the proximal to the distal end. The middle surface of the body has a clear interosseous edge for the fixing of the interosseous membrane. Its side edge is rounded. The radius distal end has a medium-sized notch (ulna) medium, in which the head of the ulna fits forming the distal radio-ulnar joint. The lower surface of the radius distal end is smooth and concave, where it articulates with the fist or carpal bones. Crushing, as is the translation applied to the term Kudaki, means destroying that bone internally. In this case, masters first studied every possible fit of the bones and their connections. In this way it would be easier to direct their attacks. To break a bone in opposite directions, it was necessary to develop, in a different way from the forms practiced in Jujutsu, a force localized and not expansive, as in the cases of levers and joint locks; a force with the aim of destroying only the attacked
place, until it has an impact on the rest of the body. Some of the most typical schools also taught to fracture the bone in the form of a splinter, so that later they could pull it out, causing an even greater psychological shock. These techniques are still practiced in the form of Seiteigata. We explain this difference: In Jujutsu, the expansive force is utilized through methods of projections and lever locks, as we mentioned above. Let's see here some theories: “Give me a lever long enough and a fulcrum on which to place it and I will move the Earth.” Archimedes Philosopher and scientist of classical Greece The force in levers, even those applied in the martial knowledge, can be of three types: The lever is a bar which can rotate around a fulcrum. When we use a piece of stick to throw a stone, a nutcracker to crack walnuts or tweezers of confectionery clip to catch a sweet, we are using a lever. Levers can be divided into three classes. In the first class levers (“inter-fixed” levers), the fulcrum is between the point of application of the action force and that of the resistance force. These techniques could be exemplified as Hiza KataGuruma, hip movements as Koshi Nage, and legs techniques in which a point is used as support of the force - Osoto AshiOtoshi. In second class levers, the point of application of the resistance force (“inter-resistant” levers) is in
“Levers can be divided into three classes. In the first class levers (“interfixed” levers), the fulcrum is between the point of application of the action force and that of the resistance force. These techniques could be exemplified as Hiza KataGuruma, hip movements as Koshi Nage, and legs techniques in which a point is used as support of the force Osoto AshiOtoshi.”
Kaze no Ryu Bugei between the action force point and the fulcrum. For example, neck chokes and locks that "strangle" the elbow (according to Udehiji Shime's translation). In the third class (“inter-powerful” levers), the action force is applied between the resistance and the fulcrum. Fasteners and pull techniques. In the case of Koppo, the applied force has a local impact with the immediate goal of injury, always taking advantage of the opposite flow of the natural strength of the adversary. Example of thumb twisting and, immediately after fractured, twist the injured bone with a screw-shaped movement. It's worth emphasizing that many forms applied in the Koppo, are also executed in the low part of the human body. This is an important issue within the Koppo thought. The bones in the human body vary in format and size, the largest being the femur, which is in the thigh, and the smallest the stirrup, which is within the middle ear. They are medium size bones that stick to the muscles by means of the tendons. The Koppo function is that of structuring any action of the skeletal system. Well seen, in addition to giving support to the body, the skeleton protects the internal organs and provides footholds for the fixing of the muscles. The skeleton itself consists of bone and cartilage articulated pieces, which form a lever system moved by the muscles. Thus, we can say that the application of its techniques requires two important factors: Knowledge about bones. Knowledge about body energy. In the first factor, the human skeleton can be divided into two parts: 1 - Axial skeleton: formed by the cranium, spine, rib cage. 2 - Appendicular skeleton: comprises the shoulder girdle or scapular waist, formed by the shoulder blades and collarbones; the pelvic waist, formed by the ilia bones (pelvis), and the limb bones (upper or anterior and lower or posterior). For the second point, is the energetic action what will give support to Uke's body to resist to the applied techniques. Tori's knowledge will be the hallmark, so that the forms applied find the exact point of the bodily fragility of the opponent and therefore the angles of greater intensity and results. The upper limb is composed of upper arm, forearm, wrist and hand. The upper arm bone humerus - articulates at the elbow with the forearm bones: radius and ulna. The wrist consists of small solid bones, the carpi. The palm is formed by the pastern, and the fingers by the phalanges. Each lower limb consists of the thigh, calf, ankle and foot. The thigh bone is the femur, the
longest in the body. In the knee, it articulates with the two leg bones: the tibia and fibula. The anterior articular surface of the knee joint is protected by a small circular bone: the patella or kneecap. The tarsus, a cluster of seven small and solid articulating bones, forms the ankle. The sole is constituted by the metatarsals, and the toes, by the phalanges. The limbs are attached to the body by a bony system which receives the name of waist. The upper waist is called scapular thoracic waist and is formed by the collarbone and the scapula or shoulder blade); the lower waist is called pelvic waist, popularly known as pelvis, which consists of the sacrum - a large triangular bone, resulting from the fusion of four to six rudimentary vertebrae, a pair of ilia bones and the coccyx, formed by the fusing of four to six rudimentary vertebrae. The first waist supports the humerus and with it the whole arm; the second one provides support to the femur and the whole leg. Juncture is the binding between two or more bones. Some bony bindings, such as the skull, are fixed; in them, the bones are firmly bonded together. In other junctures, called joints, the bones are movable and allow the skeleton perform movements.
Ligaments The bones of a joint are held in place by means of the ligaments, resistant cords formed by fibrous connective tissue. Ligaments are firmly attached to the lining of the bones.
Classification of bones Bones are classified according to their form in: A - Long: they have two limbs or epiphysis. The bone body is the diaphysis or shaft; between the diaphysis and each epiphysis is the metaphysis. The shaft is formed of compact bone tissue while the epiphysis and the metaphysis, are formed by spongy bone tissue. Examples: femur, humerus. B- Short: they have their extremities practically equivalent and are located in the hands and feet. They consist of spongy bone tissue. Examples: calcaneus, tarsal, carpal bones. C - Flat: they are made up of two layers of compact bone tissue, having between them a layer of spongy bone tissue and bone marrow Examples: external skull bones, pelvis bones, and scapula. As already mentioned, the study of Uke's body energy will enable the action in parts that support and make possible the action of the skeleton.
Kaze no Ryu Bugei
Let's see: Coating the compact bone diaphysis, there is a delicate membrane - the periosteum responsible for the growth in thickness of the bone and also for the consolidation after fractures (bone callosity). The articular surfaces are covered by cartilage. In the bones in growth, between the epiphysis and the diaphysis there's a disc or plate of cartilages: it's the metaphyseal (or epiphyseal) disc, and is responsible for the bone longitudinal growth. The inside of bones is filled by the bone marrow, which partly is yellow and it works as a deposit of lipids, and the rest is red and gelatinous, being the place of formation of blood cells, that is, hematopoiesis. The hematopoietic tissue is popularly known as "marrow". The largest amounts of hematopoietic tissue are in the bones of the pelvis and sternum. In the long bones, the red marrow is found mainly in the epiphysis. In summary we can say that the specific study of Koppo is the only way for a logical and centered explanation about its forms. It is no use repeating movements without a detailed and deep specific knowledge. Because they are so far away, many ask me if they can learn Koppo from videos or books. I radically answer NO! A teacher is needed. Names, features, angles, proper body positioning, reflex of the ki at every movement, etc., are small factors that correspond to a good technique.
“The Koppo function is that of structuring any action of the skeletal system. Well seen, in addition to giving support to the body, the skeleton protects the internal organs and provides footholds for the fixing of the muscles. The skeleton itself consists of bone and cartilage articulated pieces, which form a lever system moved by the muscles.”
Kaze no Ryu Bugei
“In summary we can say that the specific study of Koppo is the only way for a logical and centered explanation about its forms. It is no use repeating movements without a detailed and deep specific knowledge.”
Fu-Shih Kenpo SOME OF THE DIFFERENT FIGHTING SPORTS Sambo: This sport comes up in Russia and its name's meaning is selfdefense without weapons. It originated from Judo and the fights last approximately 6 minutes. It stands out by its violent projections, legs locks and immobilizations. It was recognized as a national sport in the former Soviet Union in 1938. Sambo stems from other traditional wrestling styles such as Judo, Koch (from Armenia), Chidaoba of Georgia or Mongolian Khapsagay, and it is considered one of the four major forms of competitive wrestling, along with Greco-Roman Wrestling, Freestyle Wrestling and Judo. But Sambo was conceived and developed as a Martial Art: it was Lenin himself who tasked a team of experts with finding a combat system that defined his Red Army. That was how those experts (A. Jarlámpiev, V. Spiridonov and V.S. Ochschépkov) traveled around the world, assimilating techniques and compiling the best known combat disciplines at the time: Judo, Jiu-Jitsu, Karate and Kung Fu. On the one hand, these Martial Arts merged with the local fighting systems, and on the other, they mixed with Olympic disciplines such as Boxing, Freestyle Wrestling or GrecoRoman Wrestling, after the team of experts studied carefully their techniques and the way these could be integrated into the unarmed combat sought by Lenin. Gradually, all this compendium of movements, tur ns and techniques was refined giving rise to the Sambo and its goal: to stop the attack of an armed assailant in the shortest possible time. Much later, begun the 21st century, some Muay Thai techniques were also integrated into the Sambo.
Kyoshi Raúl Gutiérrez
Fu-Shih Kenpo Grappling: is very similar to Sambo and it uses the same techniques, but besides it also incorporates control and submission techniques, such as strangulations. This sport can be practiced on the floor or standing. The term grappling refers to every combat system that doesn't use striking techniques to beat the opponent, but they resort to throwing techniques or submission movements to score points or to force him to surrender. Such disciplines are widely used throughout the world; many of these grappling methods are traditional fighting systems of an ethnic group or region. All of them are widely used in MMA, in self-defense and in different sports, so much so that Judo and Wrestling, whether Greco-Roman or Freestyle, are the first and second contact sport practiced throughout the world. The grappling techniques can be performed both standing and on the ground. They include dislocations and projections techniques, which can be considered precursors of ground fighting, since they force the opponent to fall into an unfavorable position. Various fighting systems use grappling as a key element of skill. Grappling disciplines have no origins as such, since they appear everywhere, and in every culture and society. From the Amazon jungles to the Greeks, or India, in each of these places different grappling systems have developed from ancient times. Krav Maga: It's a self-defense technique developed by the Israeli army which is based on reflexes and speed of action. It blocks the opponent with the least possible risk. The goal: protection. Krav Maga is a combat system that was developed in Israel in the 40's. It is designed, prepared and polished to defend yourself against real attacks of the day-to-day, things that can happen to you on the street or anywhere. It's not a Martial Art, it's a combat system that is not governed by the Martial Arts standards; it's designed to be useful, practical and simple. Jet Kune Do: Inspired in Bruce Lee's technique and developed by him, it consists of intercepting the opponent's movements before he touches you, and hit at the same time. It is a mixture of self-defense and combat. Bruce Lee marked a before and after in the Martial Arts. The legend of the small dragon is still present today worldwide. His inspiration continues to guide many people get the no way as way and the no limitation as limitation, through his philosophy and his Jeet Kune Do. Jeet Kune Do is a dynamic concept that is constantly evolving from its bases; it's not only a Martial Art, as it is commonly known, but also a philosophy and a way of life. In the martial field, apart from effectiveness and simplicity in combat, the goal is that of expressing yourself artistically the way you are, through human movement. To this end, a fusion of the most diverse techniques, of arts like Kung-Fu, Tai Chi, Wing Chun, Muay-Thai, Classic Boxing, etc., is used, to which a few props and dynamic bases are applied in order to obtain autonomy and success in combat. It breaks with the traditionalism that usually tends to be present in other Martial Arts. In Jeet Kune Do is not you who adapts to it, but on the contrary, is the JKD who suits you. Thanks to its adaptability it can be an ideal martial system which can be practiced by anyone, regardless of the person's physical condition, age or sex. Mixed Martial Arts: Mixture of all kinds of fighting systems. It is usually practiced in a cage and the bout doesn't stop until one of the two players asks for it and he is defeated. It's a very dangerous sport which is banned in several countries. Mixed Martial Arts (also known globally by its acronym in English, MMA) is the combination of several Martial Arts meant to be used as a method of selfdefense and / or in combat sports competition. Among the currently existing combat sports competition, the Mixed Martial Arts is the one of the bigger contact, since it allows the use of punches, kicks, locks (joint dislocations), chokes, and techniques from a variety of other combat disciplines, such as Kickboxing, Sambo, Karate, Boxing, Taekwondo, Muay Thai, Judo, Wrestling, Greco-Roman Wrestling, Ju Jutsu, Brazilian Jiu Jitsu, Kenpo, San Da, among others.
Kyoshi Raúl Gutiérrez The roots of modern mixed martial arts trace back to the ancient Olympic Games, in which one of the oldest fighting systems documented was the Pankration. Its origin is diffuse, based on various competitions held in Europe, Japan and the United States during the early twentieth century. The concept of Mixed Martial Arts is often erroneously considered synonymous with Vale Tudo tournaments originated in Brazil, and combat sports such as Full Contact and Kickboxing; or practices that mix only Martial Arts that demonstrate effectiveness in sports tournaments. Karate: Karate-do. From Japanese "Kara" (Empty) and "Te" (Hand), which make "empty hand" - and "Do" (Way, Path, Philosophy of Life), that is "The Way of the Empty Hand". Karate is a traditional Martial Art of the Ryukyu Islands today belonging to Japan and currently known as the Okinawa Prefecture. Normally, the Karate tournament rules ban the full contact, and also limit the use of traditional techniques, with which it becomes a "controlled contact" sport with a very narrow technical resources. Karate apparently can be and definitely Olympic Sport in the next Tokyo Games 2020.
Fu-Shih Kenpo Kick-Boxing: Kick-Boxing is a Japanese combat sport in which boxing techniques are mixed with those of some Martial Arts such as Karate and Muay Thai. It's related to the ancient art of classic Muay Thai, but without elbow and knee strikes, which are generally not allowed, so is similar to modern Thai Boxing, although it's not considered a formative traditional Martial Art or Gendai Bud par excellence, but a combat sport. It's considered that a kick boxer is a tough competition to other standing fighters who prefer other types of contact sports or Martial Arts, for the physical resistance, the forcefulness, and endurance to the blows of
Kick Boxing practitioners. Today is one of the top systems and with a greater disclosure in the development of the standing fight, being one of the preferred arts in the combined Mixed Martial Arts or MMA. Fu-Shih Kenpo: The roots of Fu-Shih Kenpo take us back to the reality of street circumstances experienced since childhood by its own creator. He also was related to various contact sports and Martial Arts from an early age, including Boxing, Judo, Karate, Tae-KwonDo, American Kenpo and Kick-Boxing. Its
Fu-Shih Kenpo
Fu-Shih Kenpo creator felt quite lost for many years, during which he didn't see the direct effect of the different modern styles of Martial Arts, when applied to real street situations, including police or military interventions. That's why Fu-Shih Kenpo is an open system or art that is constantly evolving and updating in its various aspects, like Self Defense and Combat. One of its ways is the preservation of the traditional art and its school / exhibition self-defense. Another one is the fastest, most direct and simple way to get immediate results in real situations. The third one is that of the Police Self Defense, which must be adjusted to the parameters of different police sectors, security and bodyguards. In the field of Combat Sports, Fu-Shih Kenpo conforms to a regulation quite similar to that of Kick-Boxing. And in the Traditional Combat, anything goes. Finally, Fu-Shih Kenpo aims to preserve a great deal of Philosophy and a way of life, seeking to preserve one's own health, that of others and the respect for all God's creation. When we talk about differences between Martial Arts and Combat Sports, we must have clear a number of concepts of both the ones and the others, to avoid falling down into a confusion related to the terms and bearing in mind the things that can be similar, as the doctrines that support Martial Arts are different from those that do the same with Combat Sports. Martial Art embraces all, whereas the mere sports aspect "limits it extremely". Thus, Martial Arts have their origin in the East, and though some indicate different places, the truth is that no one knows exactly where these fighting arts were really born. For many people it was in India, while others point at China and a third group speaks of Okinawa. All that is certain is that the reason for which Martial Arts emerged was the need
of defense against the oppression of soldiers who at the time had the mission to defend the rulers. Probably, as we have seen, in every culture, people and continent emerge various systems, techniques, tactics and weapons created by human ingenuity as forms of selfdefense, to protect themselves and their family. This has been true since cavemen discovered that a simple animal bone could make a defense weapon or a hunting spear. And it's in this historical era where the concept of "defense", which of course was motivated by the reaction to an "attack", already appears. These resources were put into practice by the farmers who used their hands, feet, legs, elbows, etc., plus some weapons created from the tools they used in the field at the time. However, nobody ever thought about using or implementing these techniques to challenge one another. They only performed training practices among them as a way of purifying their own skills and perfect their techniques to the fullest. In this way begun to appear and gradually develop the so called Martial Arts, whose main features were those of a physical, mental and spiritual discipline, where this latter aspect was all the more important than the techniques themselves. On the other hand, the concept of "offensive" was rarely evident, being the defense the true pillar of Martial Arts, and furthermore, from the earliest times of humanity there have always existed combat-related activities, which in most cases ended up with the death of one of the opponents. This became so popular as a spectacle that came to not having any limit or rule that could mitigate the resources of every fighter to beat his opponent up to annihilation. Let's recall therefore the Gladiators of the Roman Circus.
“Fu-Shih Kenpo aims to preserve a great deal of Philosophy and a way of life, seeking to preserve one's own health, that of others and the respect for all God's creation.”
Kyoshi Raúl Gutiérrez
In this DVD, G.M. Larry Tatum (10th Dan) develops techniques of the Kenpo program at the highest level. Particularly, some of his “favorites” like Flashing Mace, Parting Wings, Entwined Lance… Masterfully executed and based on the experience of the movement, G.M. Tatum incorporates his innovative teachings in these techniques that will help you add and complement your training in the Kenpo system. Besides, they provide the individual with the best choice for selfdefense, based on the logical and practical thinking, and place him in the path of understanding the art of Kenpo. These are the self-defense and fighting systems of the modern times we live in. They are designed so that the practitioner gets all the benefits that training these techniques can provide. This DVD has the support of Master Adolfo Luelmo (9th Dan), who goes on with a series of techniques performed in a smooth and strong way, for situations of extreme aggression, in which can be appreciated different states of the movement, in a logical and effective way. As a conclusion, Master Camacho Assisi (8th Dan), displays a technique that combines the strength of the arms and his expertise with legs.
REF.: • DVD/LARRY4
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
In this comprehensive instructional video, Andreas Weitzel, founder and head instructor of the SYSTEMA Academy Weitzel (Augsburg, Germany) and one of the leading SYSTEMA Instructors in Europe explains the most important fighting fundamentals. First he vividly elucidates how to walk naturally focusing on the correct execution of steps. He then shows how to use this work in combat applications. A variety of different topics are explained in this movie including: How to unbalance an attacker; How to strike and kick correctly; How to defend against, grabs, throws, strikes and kicks. The explanations in this video are simple but clear with the aim for easy comprehension and lear ning for everyone. During his explanation Andreas always includes and focuses on the most important principles and fundamentals of SYSTEMA by showing how different topics are tightly linked to each other. Furthermore free and spontaneous work against different attacks including weapons is shown under realistic conditions and full speed. In this video Andreas is assisted and supported by Michael Hazenbeller (Rastatt) and Thomas Gößler (Augsburg), two experienced Systema Instructors.
REF.: • DVD/SYSWEITZEL1
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
Comprehensive or Integral Vovinam is simply going back to the Founder's true Vovinam. The goal of the founder was clearly and openly declared: "Harvesting effective techniques, assimilate their essence and transform them into Vovinam techniques", and indeed this concept still remains in force and is mandatory for all Vovinam Masters in the world. Vovinam is then a research concept to achieve a super effective style. However, today 90% of Vovinam teachers forget it and bend to a program too loaded, too fixed, too aesthetic and sometimes completely ineffective in numerous techniques. Comprehensive Vovinam is simply rediscovering the original essence of Master Nguyen Loc's art. For that, we have the principles, the basic techniques, and we just have to go back to work out the effective way of every technique and apply the founding principle. In this DVD, by the hand of Master Patrick Levet, we will study the basis of Integral Vovinam, threats and knife attacks, integral counterattacks, and defense against Dam Thang (direct fist) Dam Moc (hook punch), Dam Lao (javelin punch) as well as basic leg levers.
REF.: • DVD/VIET6
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
