martial arts magazine budo international 289 may 2 fortnight 2015
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Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue. 289 May 2 fortnight - Year XXIVTRANSCRIPT
e are all blind, especially in regard toour sameness. Such blindness is nevercomplete; like donkeys with blinkers on,we move staring straight ahead, whichis where they let us focus our eyes... if
only to prevent the carriage from falling down there... inthe next curve
However, in what concerns us, the general rule is that ofthe most complete ignorance. "Know thyself!” read themaxim inscribed in the frontispiece which crowned theentrance of the Temple of Apollo at Delphi. A truth ashermetic as improbable, because it implies an obvioustransgression.
Physically, the eyes are looking to the outside; so"looking inside" is somehow an "unnatural", forced andwillful act; therefore, for almost everyone, the first way tobegin doing so, lies in seeing the reflection of our actionson others.
What others give us back is not a perfect clue, but isdirectly related to what we emit. Mom smiles celebrating agood deed of the baby... or she frowns and declares herdispleasure. We use others to reflect back to us who weare... and so they begin to condition us.
Reflexes may also be just that: reflexes. Negativepeople produce aversion; people flee the person whodoesn't wash; clearly, there are many lies and many liars,but, as the old Spanish saying goes: "you catch a liarbefore you catch a crippled", or, the truth will out! So ifeveryone says it's blue and you see it red, there must besomething wrong with your eyes. Extreme stubbornnesscan only be a sign of arrogance... or geniality. I haveknown many geniuses who possessed such a personalmass that they were very attractive despite carrying thedifferential component of a toxic person.
There is no rule without an exception, but others, takenhere as exponents of what springs near, are but distortingmirrors, because in truth, the mirror that reflects us is LIFEitself. Turning our eyes inward requires reflecting, inconsequence of humility. Reflecting is an act of mindpower. Pressed by immediacy, encircled by the urgent,imprisoned by the hyper stimulation of modern life, it isvery difficult to get into that kind of attention.
And if it is hard to look at yourself, it is far more difficultto do it without bitterness, without judgment ... withdetachment and, above all, compassion. Caught bymorals, the group consensus and what we've learned, ourview is in general far away from the needed equanimity,the right generosity. Convinced that we have a reason thatnecessarily opposes to any other, we keep arguing and
maintaining our position as the one who really knowsabout something, and then, when we are caught in a slip,we try to justify ourselves hiding out in a dialecticalconfrontation in which we refuse to give in, arguing thatopinions are like belly buttons, that is, everybody has one.
Every life, every destiny, are unique; whether they sharelaws and scenarios with others or not, the way is alwayspersonal. And because of that, we can't do ourexperiences extensible to others; and thus, advisingbecomes a rather complicated art, where silence candramatize and stage much more wisdom than any word orconcept.
Faced with glaring truths, wise men express themselveswhen their opinion is required: "Maybe... maybe not ...perhaps... who knows?!" A person, who is a tyrant withothers, is only showing what he is with himself. It’s theother side and the same truth that teaches the saying "Tellme what you brag about and I'll tell you what you lack" ...we spend our lives following the outlined guidelines wehave received, without even rethink of them, and that wecan hardly evaluate.
As if this were not enough, the mind is trapped in itself.Clarity, as an enemy of Castaneda’s warrior, acquires itsfull meaning. In front of this, unlearning becomes asimportant as learning. The spirit knows well about that,but to be "connected" it requires a lot of energy resourcesthat we spend on other things, for which, of course, themind will always find lots of brainy, imminent and totallyunavoidable reasons.
The mind, impassable gate, since every time you exitthrough it you re-enter again, is nevertheless the gate. Aparadox in itself! The mind allows us to free ourselves fromignorance through learning and then learn that we mustfree ourselves from it. It is the resource "sine qua non", butit doesn't provide what it promises. Only the spirit, when ittranscends it, handles those threads of KNOWLEDGE, incapital letters. A simply good, unpretentious knowledge,without conditions, empty of any intent.
This silent knowledge is not reached with anyparticular technique, but all of them serve, because likeRome, all roads lead to it. It's the Ithaca of the spirit that,longing its original unity, impels us to the eternal return.Its stays are many; its stations are well marked. So, onceovercome the physical directions of "onward andupward", the following is that of the mind: "Inward"; nextis only of consciousness and spirit, that is, "toward theWhole". In the re-fusion, drops know themselves Ocean... while remaining drops; drops that already were sea,cloud, tear, river...
W
"You can't reach the dawnbut through the path of the night. "Khalil Gibran
"Deep rivers run silently, streams are noisy…"Indian proverb
Alfredo Tucci is Managing Director toBUDO INTERNATIONAL PUBLISHING CO.E-mail: [email protected]
https://www.facebook.com/alfredo.tucci.5
Weng Chun Kung Fu is aneffective traditional Chinesemartial art, which combines
the knowledge of thesouthern shaolin
fighting monks aboutcombat,
strengthening andmaintaininghealth withmental andspiritualdiscipline(Chan).
Chinese Styles
ORIGINS
According to legends, when thesouthern Shaolin temple was destroyed
in the 17th century, the fighting monkscarried their legacy with them and started
to teach their art secretly, mainly on the redboat. There, the Weng Chun kung fu systemwas handed down from the last abbot ofsouthern shaolin temple Chi Sin Sim Si(meaning "extreme compassion Zen master)to the red boat opera performers Wong WahBo and San Gam (◊Painted Face" Gam) andfrom them on to Fung Siu Ching, who in the18th century became the most famous WengChun hero and kung fu hero in south china.In the Chinese cities Xi Qao and FatshanFung Siu Ching Fung Siu Ching passedthe Weng Chun legacy to the Lo familyand they passed their legacy to Wai Yan,
who became (with Chu Chung Man) themost famous Weng Chun master of the 19thcentury in Hongkong. Grandmaster Wai Yanbuilt the Weng Chun Research Academy inHongkong named Dai Duk Lan. AndreasHoffmann from Germany was the last studentof the Dai Duk Lan Research Academy andthe only western student of Grandmaster WaiYan. Between 1986 and 2002 GrandmasterWai Yan passed on his Weng Chun heritage toAndreas Hoffmann, his only western studentever. In the beginning of the 90s Weng ChunKung Fu, like many other Kung Fu styles inChina and Hongkong started to die out.Grandmaster Andreas Hoffmann founded theInternational Weng Chun Kung Fu Associationand introduced Weng Chun in more than 12countries. Today he is guiding more than 500Weng Chun instructors worldwide. Under hisdirection Weng Chun Kung Fu maintains itsstrong Shaolin identity and combateffectiveness.
WENG CHUN KUNG FU IS ACONCEPTIONAL STYLE
Weng Chun Kung Fu is not a technical style- it is a conception style.
It is a guide to the core principles ofSouthern Shaolin martial arts and to theunderstanding of real combat.
As a combat system, Weng Chun coversall ranges of combat including many kicking,fist and open hand striking, elbow/knee,shoulder/hip and head, joint locking and
throwing techniques, the use of long (longpole) and short weapons (double knives,
swords) - a l l d i rected by theprinciples (Yiu Dim - important
ideas). The core interrelated principles
are: the 18 Kiu Sao, 6 1/2principles, 16 words, 10 wisdomsand Heaven, Man and Earthconcept.
HEAVEN, MAN ANDEARTH THE
FOUNDATION ANDUNDERSTANDING OFTHREE-DIMENSIONAL COMBATReal Combat means for a Martial Artist
the capacity to handle any possible fightingdistance or fighting situation. Any MartialArts System that claims to prepare itsstudents for self-defense must containthis feature.
Awareness is the basic skill to feel in alldirection and in all dimensions. In WengChun, the space between twocombatants is divided into 3 distancesand three heights: Heaven - Man -Earth.
Heaven is the use of weapons, handand foot strikes in the long distance.Furthermore in combat it representsthe situation with no contact. InWeng Chun terms: "Mo Kiu MahnYau Kiu" -without a bridge, ask forthe bridge. From the heightperspective Heaven represents all
actions to the upper body.From a range perspective
Man represents elbow andknee strikes and in combatthe situation in which onehas contact with theopponent. In WengChun terms; ◊Kiu loi
Chinese Styles
Chinese Styles
kiu seuhng gwo"- if the bridge is held, cross and control it from above. Fromthe height Man are actions to the middle body.
From a range perspective Earth represents head, shoulder and hip strikes andin combat the situation in which one has contact with the trunk of the opponentor the situation in which one can control the opponent. In Weng Chun terms:"Lei kiu bin jik da"- if the bridge is withdrawn, strike directly. From theheight Earth are actions to the lower body.
THE BRIDGE (KIU) - CONTROLL YOUR OPPO-NENT WITH A LITTLE FORCE
In Weng Chun Kung Fu the bridge (Kiu) means that the Weng Chunfighter always adopts a position with respect to the attacker, or usestiming in such a way that he can achieve the greatest possibleeffect on the attacker by applying relatively little force, so that he isable to control him effortlessly. The Weng Chun bridging exercisesare taught according to the 18 bridging concepts in 9 relative "Yinand Yang" pairs.
1. TIU - BUT: USE THE SITE ANGLESAGAINST YOUR OPPONENT
Tiu is an inside angle with your arm, shoulder, leg, weapon whichallows you to control your attacker. It is an action or position fromoutside, from which you use the power of your attacker through awindshield wiper like movement.
2. DA - PUN: STRIKE AND FOLD YOUROPPONENT
With the Da Kiu exercises you learn the situations and timingto strike efficiently which the strikes of Weng Chun.
With Pun Kiu one learns to bend the arm for defenseafter striking or to attack with another part of the body,for example striking with the elbow after a punch.Another meaning is that you fold for example thearms of your opponent in order to control him.
3. JAAU - LAI: PUSH ANDPULL, WENG CHUN PUS-HING HANDS
Jaau is the push with your whole bodythrough your arms or other parts of yourbody. Lai is the pull.
4. SEE - CHE: SHOCKYOUR OPPONENT
With See the attacker is pulled andstruck at the same time. This approach
Weng Chun
renders the force for striking or throwing enormously effective. Withthe Che action one uses a "fast pull/jerk/ to disbalance an attacker.
5. KAM - NA: CATCH AND CONTROLL YOUROPPONENT
Kam means to catch your opponent's arm in an arm lock. Nais the skill to control an attacker with your lock, take down
or choke.
6. FUNG - BAI: ALLOW YOUROPPONENT NO MOVE-MENTS
With Fung Kiu opponent's limbs orbody are trapped so that he cannotmove. Fung also means to stop theblood from flowing. With Bai you builda barrier so that the attacks of youropponent cannot reach you. You buildan umbrella as a safety zone.
7. BIK - HUP: CORNERINGAND OVERRUN YOUR OPPONENTBik means to use a "force angle" to an attacker or just to
squeeze as in choking. Hup is the feeling to use a smallhole in the defense of your opponent to overrun him with
strikes or follow up attacks.
8. TUN - TUO: SWALLOW AND SPITTHE FORCE OF YOUR OPPONENT
Tun teaches the Weng Chun follower to destroy theattacking energy at his highest level by swallowing.
Tuo is like the movement of the wave, it is usuallyeasily possible to follow the swallowing Tun by
striking the attacker with the recoil, or to"skewer" him.
Chinese Styles
9. BOK - SAAT: GUIDE YOUR OPPONENT BY ATTACKING AND DON’T ALLOW HIM TO GUIDE YOU
In the Bok exercises you learn to guide and surf your opponent with yourattack. Saat is on the one hand the final attack to control your attacker and on theother hand to destroy the attempt of your opponent to guide you.
WENG CHUN KUNG FU IS AN INTERNAL COMBATART1.“BE ONE WITH THE ATTACKER"
The fundamental idea of the internal styles like Weng Chun is that the attackerprovides the force which the defender can take control of. The internal method iseffortless for the practitioner, but for the opponent it is without compromise. He isbeing controlled at his most sensitive places with the force of a whole body andbecoming shocked by the whipping "inch" force generated by the Weng Chunfighter.
Weng Chun
Chinese Styles
2.“DEVELOP THE POWERFUL SPIRIT(SHEN) OF A WENG CHUN FIGHTER"
Even the best method of combat is useless if the mentaland emotional condition of the defender makes it impossiblefor him to apply it. For this reason in addition to the physicaltraining, the Weng Chun method contains mental training.
In Weng Chun Kung Fu as a fighter you need to melt theconcentration power of your thinking/judgment mind (Yee)with the power of your emotions and transform it into thespiritual mental power which has qualities like: fearlessness,calmness, clearness and awareness.
3.SHAOLIN PROMISEIf one uses the above mentioned method the mind gets
stronger and is ready to take the shaolin promise to protecthelpless people in a combat situation. The person is readyfor the ultimate test to become a spiritual shaolin fighter: toprotect people and oneself in the riddle of aging, illness anddeath.
OUTLOOKNowadays, in Europe and the USA thousands of
enthusiastic students are undergoing the Weng Chun KungFu training under the leadership of engaged teachers andmasters. This brings the art to a new blossoming. ManyWeng Chun Kung Fu followers have been able to wininternational competit ions using their knowledge ineducational activity and to give help in order to protectthemselves and others from violent attacks (women_s self-defense, special police and army units, protection ofproperty, etc.).
Since this art can be practiced by persons of any age, bymen and women, there is a great hope that many people willdecide to practice Weng Chun Kung Fu and therefore willlive their lives more consciously, more fearlessness, morepowerful. Their lives will be enriched and brightened up; theywill be able to protect themselves.
International Weng Chun Kung Fu Association -Grandmaster Andreas Hoffmann: www.weng-chun.com
Weng Chun
Chinese Styles
“In Weng Chun Kung Fu as afighter you need to melt theconcentration power of your
thinking/judgment mind (Yee) with thepower of your emotions and transform
it into the spiritual mental power whichhas qualities like: fearlessness,
calmness, clearnessand awareness”
A True Hollywood StoryEnglands Scott Adkins
Text & Photos: Don Warrener
Scott came into the Hollywood Radar scene around2004 when he sent me an old VHS tape of himself doingmartial arts, acting and gymnastics.After writing several articles on my dear friend Jean
Claude Van Damme it seemed everyone and their unclethought I could make them a star, which of course I cannot do.I was receiving 2 or 3 VHS tapes a week of wantabee
martial artists who either had no acting abilities or weresimply not even in the right world as they were out ofshape, too old, or technically useless. As a joke I used to give them to my friend and partner
Isaac Florentine just to see him get disgusted and vow tonever waste his time again with these tapes.Then one day I received a brown envelope and a tape
inside asking me to give it to someone who could help himwith his career. It was from Scott Adkins.I pushed the tape in and watched it and I still remember
saying to my self “this guy is good”. Then he did someacting in a BBC show and not knowing anything aboutacting I remember Isaac saying that if he could just findsomeone who was equally good in martial arts and acting.So I decided to ask Isaac to watch the tape. He at firstsaid “no Don I have had enough of these people, it is awaste of time”. I pushed him again and finally he said OK Iwill watch 15 seconds and then throw it away if it is nogood.About an hour later I got a phone call from Isaac and he
was screaming at me in the phone saying, “Don this guy isgood, he is very good I am going to call him right now”. Isaid “Isaac it is 3:00 am in the morning in England” he said“I don't care I am calling him now slamming the phonedown”.An hour goes by and he calls me back saying “Don the
kid is great and I am going to put him in my next movie”“Special Forces”.Now Scott has starred and co-starred in nearly 30
Hollywood films with names like Arnold Schwartzennegger,Sylvester Stallone, Jean Claude Van Damme, JasonStrathan, Jet Li, Jackie Chan and a wide host of otheraction stars.
MA Cinema Stars
He is now poised to be the one to carry the torchof the next great Hollywood action star after BruceLee, Chuck Norris, JCVD Steven Seagal and nowScott Adkins.As Leo Fong (Bruce Lee's friend) said “Scott has it
all, he is handsome, he is great shape, technicallytalented he can act and most of all he is a humblenice person”.
MA Cinema Stars
Scott just finished doing a new film with KevinCostner and now Close Range with his favorite actiondirector Isaac Florentine. He is already signed to do asequel in the Undisputed series as Boyko the RussianMMA fighter who is a bad guy, good guy cunumdrum.It is scheduled to be shot this year so look out for thisone people it will be amazing.I can tell you this about Scott as I have known him
now for nearly 15 years. He is a true English gentlemanand an amazing family man who is like a little kidaround his beautiful daughter who has him wrappedaround her little finger as he is mesmerized by her andher mom.They are truly the perfect family and as Scott says
they keep me grounded and don't let my head get toobig.Who knows but Scott just might be the next action
star that will be the one that brings the spot light backon martial arts like Bruce Lee and JCVD did. But wecan tell you this that if it does happen it couldn'thappen to a nicer guy.Scott in an attempt to promote martial arts is doing
seminars all over the world in between films in a hopeto fill schools and expose more people to the benefitsof real martial arts of which he is an honorableambassador.
For further information please contact the writer [email protected]
THE RICHNESS OF STRATEGIES - HEIHOO
Strategies have always determined the difference in thecombats or wagers in which the opponents or rivals masteredtechnique. Among the great warriors, the dispute stoppedfocusing on the skill and precision of the pure movement,since both contenders had such dexterity and both acted inthe mental field. The one who better developed a strategicthinking, combined with the technical expertise, wouldexpand the chances of success in a fight. Therefore, trainingthe mind was considered as important as training the body.Mind training is carried out by practicing fast, maliciousthoughts, through the implementation of risk analysis andsurprise elements. Regardless of weapons or circumstances,one thing is essential for Heihoo - the ego must remainoutside. Here are some of these things.
Tsukeru no HeihooAmong the most advanced Seiteigata studied in the
chuden graduation, some definitions characterize theseapplication ways. Tsukeru no Heihou refers to all thetechniques used to stick to the opponent during an attack.
For centuries, these forms were characteristic of theclassical schools, which attributed to these techniques thebest form of defense in hostile environments such as paddyf ie lds, mountains, swamps, taver ns, etc. In someSeiteigata, these techniques are widely used in ShinkenShirahadori - techniques that refer to defense against realblades. Let's see:
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The Seiteigata present techniques referring to variousforms of attack. In all of them it instigates Uke, who is armedwith a katana, to make a decisive attack, so that he is certainof his move. I will give an example through makkouchi, tomake it easier to understand. As soon as Uke takes theposition Furikaburi - sword above his head - and starts hisattack, tori must move forward steadily and firmly, moving hisright arm into the arms of uke. As the hilt of the katana is inUke's forward right hand, precisely for this reason Tori mustmove his left leg, so he embraces Uke's neck with his rightarm and this allows him to position himself laterally,supporting any opposing force. In this position, Uke isprevented from lowering his sword. It is worth mentioning,however, that there is the right time to achieve Tori executesthat move. Seconds of delay may represent failure and, in thecase of actual combat, death.
But returning to the technique, Tori should stick his head inthe shoulder of Uke and separate the Hara, creating a spacethat works as a subsidiary to move the axis out of the hips ofthe opponent. The lateral position will keep him safe fromUke's left arm counterattacks and will allow him to takecommand of the opponent's movements, parting from theneutralization of the upper part of his body. Thus, althoughthe attempts to move in any direction, that position willremain the guarantor of security in relation to the blade of thesword. Once separated the Hara, Uke's body center movesdown. Thus, it positions the center of his strength so as tocause Kuzushi in the opponent's spine, trapping the neckand making the lateral choke in Chi-Tomeru - (blood stop).
The Seiteigata is specific in this movement, in relation tothe choke. It should be done on the side of the neck and noton the front, which is characterized as Tomeru Ki -interruption of airflow - and not of blood. If that happens, it
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can be considered as an improvisation, nothing more,because in the history of that aforesaid sequence ofSeiteigata, the movements are repeated emphasizing the ChiTomeru.
After this, there are many possible completions. Eachsequence maintains its own form and, depending on which,one outcome or another will occur.
Let's see it in Teika no Heihoo.Many curious movements can be good example of the
imagination of the great men of war in the middle Ages. Thiskind of strategy is a great example of this variation ofthoughts that usually took their opponents by surprise."Teika" means to lower, to fall down ... This specific form wasused against weapons the size of a katana or bigger.
Many schools and masters prefer to adopt this form and,with the help of Tessen or Jitte, diversify the initial movementof Tori. One way or another, empty-handed or using weapons,this form consists of using the ground as a tool after anattack. Let's see:
1 - Without using weapons - Uke attacks mightily with hiskatana in MakkoUchi. Tori uses such exposure to induce hisopponent's attack to his head and in a time reduced to twothirds, in relation to the speed of Uke, he performs a diagonalIrimi movement so that his hand is at the Uke's biceps height.Right away, he seizes the Uke's katana by the Tsuka,neutralizing his force. Then he lowers violently Uke's katana,knocking the blade against the ground, so that the impactreverberates in the hands that hold the Tsuka. (Within theSeiteigata, these forms vary in direction, such as the angle ofthe katana, which must touch the ground).
In general, Uke would resist by placing the concentratedforce in the Hara. In this case, the katana blade should beplaced in a lateral angle, so that the movement of the front
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fist influences the balancing force provided by the Hara, whenUke bends or lowers his body.
2 - In the case of using weapons. Jitte - holding theweapon in an inverted way, he proceeds in the samemanner as above. He executes an Irimi movement on theleft side in relation to Uke, which enables to grasp the righthand which is in front of the Tsuka. Then he immediatelychanges the angle of the forearm that corresponds to thehand that holds the Jitte - the right - to protect his bodywell. He turns over his head holding with his left hand theTsuka, which is between Uke's hands. He turns and bendsdown violent ly, so that the blade hits the ground,reverberating its strength toward balance projected into thearms of Uke.
We can truly say that:If you see a thought as soon it arises,
This awareness will destroy at once,Any state of mind that might come,It will sweep it away, it will break it down.
Another interesting part is the HenkaMusha no Heihoo
Main attribute of certain Seiteigata involving Futarigake -two people attack - Henka Mu Sha is every technique thatinvolves the transformation of a situation. Literally translatedas "Person of the war that changes" or "change in the personof war", this way of thinking is used to reverse theunfavorable situations when two armed or unarmedopponents carry out attacks on Uchi (blows) and Toru (grips).
We can visualize it in the following example:
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In the Seiteigata there is a sequence in which Tori isgrabbed from behind by Uke One, with Ushiro Tekubi MoroteTori (grip from behind with both hands), which prevents himfrom drawing his katana. Uke Two, standing in front of Toripulls the sword and assumes the Furikaburi stance. With anexact movement, Uke Two attacks in MakkooGiri. Then Torimoves his right leg forward on the diagonal of the same side,so as to stick to the back of Uke One (which is grabbing him)through an imbalance (Kuzushi). That Kuzushi will allow himto protect himself against the attack of Uke 2, not being in thecutting line, but in the back of Uke One.
Then moving the Tsuka circularly inside out, Tori releaseshimself from the left hand of Uke One, that was holding him(remember that this was achieved by the MakooGiri). At thistime, Uke 2, having failed in the first cut, tends to retreat tocarry out a new attack.
It is precisely in this half time that Tori moves forward hisleft leg and pulls in Gyaku Kesa Nuki, reaching the right armof Uke Two at the height of the elbow - in Seiteigata he wouldbe returning to the position "In no Kamae". Once Tori reacheshim perpendicularly at the height of the elbow, heimmediately executes Kiri Otoshi, changing the base andreaching frontally Uke Two, ending kneeling before his body.Chiburi completion and Notto must be executed even in thisposition.
There are many ways of moving the Hara in this reflection.If we analyze the above example, first we must maintain itheavy and dense to allow breathing to return to normal(imagining a factual situation, where breathing is the firstthing that is altered). The Hara should avoid contractions atthat time, though involuntary, so as to provide stable hands -a basic requirement for unsheathing and cutting. We must
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emphasize that one of the most common things that alter thenervous system is the polarization of the central power, whichbecomes yin. This is manifested as a pressure drop,stagnation and inability to react. Its specific effect in ourhands is a set of tremors and cold hands.
Therefore, breathing must be done slowly and deeply, tostabilize the body energy. As we can see, the topic on Heihoofirst encompasses the understanding of nerve function fromwithin and the way to executing accurately the techniques ina moment in which a second can be the difference betweenlife and death.
For a full understanding of this Heihoo, it is worth notingthat one aspect that much concerns us is the repetition ofthese techniques by instructors who teach without the properthought and attention to the details that make up the properabsorption of these forms. Historical facts have animmeasurable research wealth that goes beyond simple bodymovement.
The studies of Heihoo are a fundamental part of theinstruction of a pupil. Typically, these studies are reserved tothe higher technical levels and it isn’t difficult to understandwhy. Strategies must be applied with perfection. In a situationthat requires strategy, there is no room for technical errors.The mind should be at full attention, it should not be divertedfrom the body coordination movement. The process oftechnical literacy should be already complete, so that themind can focus on the analysis. The body will obey the mindjust as a tool for a particular purpose. The winner will be theone who has the more refined mind, regardless of the dangerof the opponent's weapon.
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FU SHIH KENPO IN 5 DIMENSIONS
The Raúl Gutiérrez Column
One of the basic premises when conveying aMartial Art is that of passing on our studentscertain patterns of body movement inaccordance with a specific hand gesturing anda way of breathing; and al l of this puttogether allows us to "shape" and "inspire"certain characteristics that lead us to graspand combine the human movement, tounderstand our relationship with space orenvironment around us.A Martial Art must be coherent and
consistent with such principles of movement,with its technical and tactical basis, with itsmethodology and work program, all of whichwill produce a personal evolution in itsfollowers toward a progressive development.This martial consistency leads us to "unify"the universal technical principles within thesystem. In the present case, Fu Shih Kenpo,its great gestural and technical richnessallows adaptation and adjustment to anyenvironment and martial training necessaryfor a complete, progressive andcomprehensive martial education. Therefore,from this point of view, it's not about learningand teaching Fu Shih Kenpo for Kata, for SelfDefense, and then having to resort to anyother street fighting art or police defensesystem, since we would be far away from themartial consistency above mentioned andwhich marks a huge difference between an Artand another. In the case of Fu Shih Kenpo, wecan say without doubt that this is a "veryconsistent Martial Art".
Great Masters
Kenpo
TAKING AS A BASIS THE SELF DEFENSE OF FU-SHIH KENPO
In this sense, and if you analyze any of my videos postedon YouTube, Facebook, Blogs, Websites, etc., which dateback from the 80s, for example, you'll find a way of workingrather connected with the type of school training and MartialArt of those years. This means that we developed a programstrictly structured that way, but without the experience ofhaving put it into practice in the various real circumstancesof street encounters, combat sports or police action.I have often heard opinions related to my martial work,
which at no point belittled my skills, speed or accuracy,although, in the view of some, it was very nice but it didn'tadjust to reality. This at first worried me, and although I hadmy own explanations, I couldn't help being left with a vaguesensation of emptiness and uncertainty.Clearly, a street thug needs no art or school, he has
learned to survive on the streets, where he can move deftlyand expertly under circumstances in which he has found theshortest way to inflict injury to others. "Causing damage isalways easier than avoiding it." What is really difficult is tocontrol a "violent" situation, begging God with hands in theprayer position.Styles focused solely on the different sports modalities
also have built their ways of training to win fights, events,medals and trophies, seeking the shortest way to achievesuch an undertaking and risking as little as possible.That's why I started to revise my own techniques. Later,
my own destiny took me to collaborate with lawenforcement units and years of street circumstances dealingwith common bandits, as well as my contacts withprofessional mercenaries, I began to understand that manyyears of traditional martial training, plus the help of my owngenetics, had helped me achieve a quite acceptabletechnique among others that never got it, and that the skills Ihad developed, allowed me to exhibit myself in front of asparring partner who didn't manage to return any of mychained and harmonic blows. Almost like when we hitagainst a sandbag.One day, a serious diving accident disabled me from all
those skills that I brought by birth, "straight from thefactory". So, from then on and for many years, anotherreality forced me to work on my physical, physiological,mental and even moral and spiritual recovery more thananything else. I had to learn to walk again with over 54years, then to run, jump and kick. All this, and as the onlyexit I had for my own survival was that of trying to hide themost of my "then limitations", pains and other things, itmade in a natural and forced way, that I exhibited myselfless, but my actions were more effective than ever before.Years passed and one day I started hearing that I hadbecome an Instructor excessively hard. Then I also learntthat I had caused injuries to other Black Belts in Belgium,Italy and Portugal in each of my appearances.This was something I didn't like either. I'm not violent, on
the contrary. Then I started to be very careful in mysubsequent seminars, courses or sports-martial events. But
“Clearly, a streetthug needs no art
or school,he has learned tosurvive on the
streets, where hecan move deftly
and expertly undercircumstances in
which he has foundthe shortest wayto inflict injury to
others.”
Kenpo
“One day, a seriousdiving accident
disabled me fromall those skills
that I brought bybirth, "straight
from thefactory".
So, from then onand for manyyears, another
reality forced meto work on my
physical,physiological,
mental and evenmoral andspiritual
recovery morethan anything
else.”
in the process I discovered instead that most of thepractitioners of the different styles that came to me were notreally prepared to hold the belt they were wearing. Iremembered how hard it had been my first training years, backin the 60s. When I came to Spain I continued with that form ofhard and serious training. I also remembered that in the 80s, Istarted actively my journey of courses not only in Spain but inEurope and South America. My intensive weekend coursesespecially in Spain began on Friday afternoon for 3 hours,Saturday morning and afternoon (minimum 6-8 hours) and thenSunday morning four continued hours. People followed meenthusiastically and when they went back home after thecourses and seminars, all of them were thrilled and lookingforward the next date to continue learning.Over time, they took off Friday afternoons, because people
came to me from various cities in Spain and they got tired fromthe trip. Later, teaching hours were also reduced on Saturdaysand Sundays. And so I came to travel thousands of kilometersto give a course of just 4 or 5 hours. And what does all thismean? It's obvious! Many modern martial artists or sportsmenwill attend seminars because it's a good chance to travel, meetnew cities, new people, have a good time, take a lot of picturesand videos ... but train just a little bit. So today it's normal thatyou face guys apparently "tough and strong" with many Danstripes in their belts, but actually "soft as butter". And, ofcourse, they get injured ... and then "you are a beast", ananimal, a violent and aggressive master of Martial Arts. Seriousmistake, folks!
THE VARIOUS FIELDS OF FU-SHIH KENPO
A) The school art: It's the Fu-Shih Kenpo program thatdevelops different series of techniques before various physicalattacks with or without weapons. It leans on a lot of resourceswith long, swift, coordinated, smooth and apparently effectivetechniques. It is the "artistic program", for exhibitions, examsand martial skills.
B) Using different weapons: Something similar to theprevious one. The only difference is the handling of variousweapons such as: Short Baton, Yawara, Long Stick, Knife,Kama, Tonfa, and Nunchaku. The skill lies in the hands and inour whole body. If you have a lot of skill and resources, you canbetter manage any device you might have at your reach.Weapons don't move alone.
C) Combat: Our Combat art is divided into two forms.Traditional full contact with bare hands and feet. Anything isvalid, punches and open hand strikes, as well as elbow andknee strikes, kicks, sweeps, levers and controls. And modern,very similar to the Kick-Boxing.
D) Street Defense: It's the "Realistic" training program. Ourcomprehensive program seeks simple, direct and effectiveactions. Short techniques, application to vital points, alwaystaking into account the effects and consequences that these
Great Masters
can cause. If we can defeat rapidly our rival in a realencounter, this will be better and healthier for bothparties.
E) Film Action Choreography: Action movies seekchoreographies which are very spectacular, variedand rich in resources. Use of physical and technicalskills, as well as the various elements of the actionscenes environment. Generally very colorful andentertaining, but most of them surrealistic, absurdand out of place. Films will be films.
F) Police Defense: Our program fits the acquiredknowledge for obtaining success in the variouscircumstances during the performance of policefunctions, which must take into account thelegislation in each sector, as well as the parameterson the use and proportionality of police intervention,that is, what is permitted and what is forbidden. Hereis the same, the most effective, martially speaking,and what really works is forbidden by the law. So itsapplication is very limited, although, once within thatrestricted field of action, a very practical and effectivesystem can be developed.The execution of the school techniques pursues
basically generating a technical strength andadapted physical endurance, in addition to achievecoordination, ensure the Art or System patterns, etc.,which are certainly the roots from which emerge thesubsequent evolutions and developments tailored tothem (weapons, street defense, etc.), which shouldgive rise to interpret not only certain technicalgestures and movements, but also to know the whyof each one of them and the offensive actions theyseek to avoid.In the case of the school technique, beyond the
technical description set forth above, we will delveinto the why of each of those actions.We have stressed out on more than one occasion
that one of our cornerstones in Fu Shih Kenpo is theuse the octagon as the basic displacement pattern,combined in this case with the schedule pattern,always looking to maintain appropriate distances toeach action, and the angles of security for eachmaneuver.
Kenpo
“One of our cornerstones in Fu Shih Kenpo is the use the
octagon as the basicdisplacement pattern.”
Major Avi Nardia is one of the leading head officialinstructors for the Israelite army and police in anti
terrorism and CQB, he along with BenKrajmalnik have made a new basic
dvd in the field of firearms andsafety, training techniques in
IPSC. Instinctive Shooting inCombat. Combat Instinctive
Point Shooting - IPSC is ashooting method basedon instinctive reactionsand kinematics to shootshort distances fast andin dynamic situations. Aself defense disciplinein order to survive in lifet h r e a t e n i n gsituatuations , where
you need a very fast andaccurate shooting
abilities, when you musttake the gun out as soon as
possible and shoot at a shortdistance without using the sight.
In this first volume you will studyhow to handle the weapon ( revolver
and semi -automatic ) dry firing practice andsecurity, "Point Shooting" or instinctive shooting , at aclose range and a series of movements and exercisesfor weapon retention , low stress and multiple attackers ;exercises on how to recharge with one hand, ... andfinally practice shooting gallery with guns such as AK- 74, M -4 , M -249 machine gun and even M -16grenade launchers .
REF.: • KAPAP7REF.: • KAPAP7
All DVDs, wichi is produced by BudoInternational, si provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however neves offered with aspecial holograma sticker. Besides ourDVD is characteristed coverings by the higquality in pressure and material. If thisDVD and/or the DVD covering do notcorespond to the requirements specifiedabove, it concerns illegal pirat copy.
Budo international.comORDERS:
Combat Hapkido and the Warrior's mind
“Those who are victorious plan effectively and change decisively. They arelike a great river that maintains its course but adjusts its flow…they haveform but are formless. They are skilled in both planning and adapting andneed not fear the outcomeof a thousand battles: forthey win in advance.Defeating those that havealready lost.”
Sun Tzu 100 B.C.
Combat Hapkido
he objective of this article is to educate thereader on the importance of incorporating asurvival mindset also known as a Warrior's mindin the practice of whichever art or style theyprefer to study. This concept will be illustratedthrough the science of self-defense known as
Combat Hapkido as this mindset is the consistent outcomeof sincere study and perhaps one of the art's greatestbenefits. In the study of Combat Hapkido the practitioner begins to
quickly realize that thephysical techniques aresimply methods toaugment thedevelopment of theirhighest potential
weapon; which is the warrior's mind. Sun Tzu's eloquentwritings of timeless wisdom as quoted truly encapsulate thekey elements of our training goals in regards to beingprepared with scalable solutions for ever changingsituations and environments.Before we begin a basic introduction to Combat Hapkido
will be required for the reader unfamiliar to the art for abetter understanding of the subject matter that follows. It isan extremely versatile and comprehensive discipline of self-protection that includes an extensive variety of strikes,kicks, joint locks and other physical martial skills. Combat
Hapkido also has several additionalcomponents such as Ground Survival,Pressure Points and Weapon Disarming.The result is an effective system, whichis exciting and safe to learn while
T
providing practical solutions in real life situations. CombatHapkido's dynamic concepts are based on scientificprinciples of anatomy and biokinetics as well as psychology,strategy and consideration for legal and moral implications.It is well suited for men and women of all sizes becausephysical strength and athletic abilities are not essential. It isideal for individuals of diverse backgrounds andoccupations. For example the system provides the base for
specialized mil itary and lawenforcement specificprograms. If you areinterested in more in depthinformation BUDOInternational has publishedCombat Hapkido-Intelligent Self
Defense in several languages and is highly recommended.As we address mindset awareness should not be
overlooked, it is a key attribute in any credible self-defenseprogram. It is appropriate for instructors to continuallyreinforce awareness to their students. It is an essential skillthat needs to be developed like any other,however it unfortunately does not provide100% assurance of the abilityto avoid a dangeroussituation. Of course this iswhy so many of us train inthe physical skills throughstyles or arts that we havechosen based on theh o p e f u l l yrare
Combat Hapkido
eventuality that we must apply ourknowledge. It is important to note thatwe need to be ready for situations thatare surprising, chaotic, and threateningalso known as a “dynamic criticalincident” as defined by renown militaryand law enforcement firearms trainerRob Pincus. The characteristics of adynamic critical incident allow forvirtually any possibility which wouldrequire proficiency in an unattainable
number of techniques if proficienttraining were merely the result ofphysical repetitions of set responses toa specific stimulus. A true realitybased system will identify the mostprobable scenarios and place thefocus on developing proficiency in theunderstanding of universally applicableprinciples. This is why CombatHapkido emphasizes the Warrior'sMind throughout all of its trainingmodalities.When it comes to preparing for the
challenges that life presents us with wemust develop adaptability with anequal emphasis on our ability toplan and to ultimately know ones
unique abilities and resources. As Ihave experienced from over twodecades of training and teaching, it isthe empowerment of self thatultimately allows the practitioner toachieve a higher level of proficiency. InCombat Hapkido an essay is requiredfor any individual attempting to attainthe rank of black belt. This is notintended to be a literacy assessmentor simply task to complete as anadditional “to do”. It is of greatimportance that the instructor is ableto identify if the black belt candidate
has attained a true understanding ofthe art as well as the value it hasprovided the candidate personally. Myobservations in reading many of theseessays have revealed that the majoritycontain three consistent themes ofpracticality, confidence, andpreparedness as being of the greatestpersonal value. These themes aredeveloped through the Warrior's Mindand realistic practice of how to applymartial arts training in the modernworld specifically to one's owncircumstances and environment. In previous BUDO articles I have
reinforced the importance of “intent” inboth training and application. However,as many practitioners have experiencedanxiety the challenge of fearmanagement is crucial in being able toactually apply intent when self-preservation is a priority. Belief andconfidence help to minimize the naturalpsychological enemies of doubt andfear. This is accomplished throughpurposeful and practical training inwhich success is honed throughexperience. It is fool hearted to hopeone will rise to level of their best trainingday in a well-controlled learningenvironment. We will most likely fall to
the lower level of our preparation,anything more is a fortunate experience.A key method to emotionally andmentally prepare for a dynamic criticalincident is by concept focused trainingwith the understanding that thetechniques are illustrations of highlyadaptable evidenced based principles.Training in this manner allows for theacquisition of a proven pattern ofsuccess that facilitates victory beforethe battle ever ensues, thus “Defeatingthose that have already lost”.Belief and
confidence are a prerequisite forhaving a Warrior's mind, this can onlybe developed through combativeexperiences or realistic training. Ofcourse realistic training is the safest,most accessible and highly preferredroute for many of us. Choose yourtraining wisely as there is a keydifferentiation of the Warrior's mindfrom the Aggressive or Primal mind isthe abil ity to plan and adapt. AWarrior's mind allows us to executedefensive tactics instantly in thecontext of an overall survival strategy.Whereas some systems or styles overrely on adrenaline fueled responsesresulting in primitive gross motorbludgeoning. While these can be veryeffective in the moment, they simplydon't allow for any moral of legalconsiderations creating much higherrisk to the individual from theramifications of blind aggression (Postconflict incident management is part ofthe study of a comprehensive self-protection system). In stark contrast ofanimalistic aggression, think of theWarrior's mind being a likened to theAssertive mind, the outcome or
destination has been decided inadvance and all that remains as avariable is the actions or path to befollowed. Our goal is not to maim orkill, our goals are to stop the attack,while protecting and come home safelyto those we care about. We will notpermit any obstacle or person(s) toprevent us from achieving those goals. Of course this article cannot capture
this subject in its entirety and you areencouraged to delve deeper to morefully understand this important area ofself-defense. In a future articles we willcontinue to expand on the Science ofSelf Defense through the teachings ofCombat Hapkido. Of course, you don'thave to wait; all of this information isavailable through the Combat HapkidoBooks, Online University, and DVDinstructional series, which you canorder directly from Defensive ServicesInternational at www.dsihq.com andBudo International atwww.budointernational.com Pleasetrain safe, live with honor, and be well. For certification information,
seminars, or questions, pleasecontact: [email protected]
Combat Hapkido
ong travels to Australia in March met me again with favorwhile I visited with my lifelong friend and mentor, one of thebest-ever teachers of the fighting arts: a veryknowledgeable person, a historian as it applies to thefighting arts from traditional, to sport and combatives, andalso one of our originators who also helped to develop
KAPAP Combatives. Hanshi Patrick McCarthy, is someone importantenough to always mention in my books, seminars and DVD's.In spite of all that he's accomplished in his life with the fighting arts
[e.g. remarkable competitive career, author of many books and DVD's,featured on dozens of international magazine covers, recipient ofcountless awards, sought after seminar instructor, successfulbusinessman and director of his own worldwide organization, etc...], Iwas surprised when he said to me, "Avi-san, one of my biggest fearsis to die unaccomplished!" Never one to rest on his laurels, McCarthy Hanshi's work ethic is
incredible... the man just never stops! His 'Bubishi' translationbecame a best-seller and he has developed so many two-persondrills, functional application practices and conceptual ideas over hislifetime that they've become templates which other seminarinstructors use as their source of inspiration. My student and friendShihan Borut Kincel describes McCarthy as "The teacher who bringspride and respect back to the art of Karate." McCarthy Hanshi is one of the few instructors of traditional Karate
who can show how it is used not only for practical self-defense butalso a most useful source to influence Mixed Martial Arts(MMA.) Thisis especially important as we are currently in the midst of an eradominated by cage fighting and the might-is-right mentality! In thisnarrow mindset it would appear as if the true value of any art is onlymeasured by an ability to fight. I am of the opinion that anyone canlearn to 'fight' irrespective of the 'style' as much of such skill has todo with tenacity, mentality, instinct and physical prowess. Learning anart, however, is really something, which requires insightful leadershipfrom an experienced and knowledgeable instructor. As Brazilian Ju Jitsu and the ground applications became more
popular McCarthy Hanshi showed us how Karate applications couldbe used in the same way and especially in MMA or in the street forself-defense. Not so many remember that he was also the in-housetrainer/sparring partner for a generation of Japanese shoot-fighters
Self Defense
Climb The Mountain Don't Walk Around It!© Copyright 2015 Hanshi Patrick McCarthy, Kyoshi Avi Nardia & Tim Boehlert
L
and submission wrestlers, which predate the UFC, includingCarlos 'the Ronin' Newton, UFC champion among his BlackBelts. Karate can be so effective and so much knowledge canbe explored if you know how to read the book called 'Karate.'Living in an era where Karate and Martial Arts are just a
'business', as some Krav Maga proponents advertise: "Forbusiness opportunity, join us", is very shocking for me, not thatit's bad to earn money, but because all of this marketing todayin Martial Arts gets much more popular, rather thanconcentrating on finding and developing real teachers. Insteadwhat we see is those that wish they were more accomplishedMartial Artists and somehow more losers (just business peopledriven exclusively by profit) that try to make sales based solelyon hype, fear and by manipulating buyers by appealing to theiregos. The fighting arts stemmed from a valued code of thewarrior, a code of respect, and to be a teacher was an importantmission.
Self Defense
This reminds me of the accountant that wasasked, "How much is 1 + 1?"... he answered, "Howmuch do you want it to be?" It's the same now aswe need to answer in the Martial Arts: "How doyou want it to be, do you do it for money only or doyou do it to become an accomplished MartialArtist?"While visiting the Steve Erwin (RIP) Zoo with
McCarthy Hanshi, we both agreed that Steve hadset a standard for others to follow, and succeededin teaching others through his life's calling. Hepassed away far too early. Bruce Lee (RIP), wasalso a great teacher and while many 'teachers' willcall what they teach Jeet Kune Do (JKD) maybe ifBruce was alive today he would simply smile as hewould and say, "It's totally not Jeet Kune Do."
"In the land of the blind, the man with oneeyed is a king."
Looking at the Israeli Martial Arts today we see24-year-old Rambo's writing their ego-drivenbiographies, as if they'd l ived a full andaccomplished life. We see students and evenyellow belts in Karate who claim now to be GrandMasters in the Israeli Martial Arts, riding onnonsense, and this is definitivelyNOT Martial Arts, but instead alot of childish marketing withslogans that only display theiregos at work, and having nothingto do with developing a morespiritual Martial Artist. It seemsthat anyone that has beenrejected by their teachers hasnow become a Grand Master inhis teachers' style - over night -with no character, no skills, noknowledge. You only need to addwords like 'Krav Maga, Rambo,Military, Tactical, Bodyguard' andsome others in your marketingpush and you will get all of the'wannabes' and be able to puttheir money in YOUR pocketeasily! We say:
"You cannot put a Crown ona Clown, and expect a King!"
Somehow there are so manykings today, but in the 'old days'
you actually had to follow some ethics and morals andstand for your skills and you were expected to defend itlike a Samurai. If you failed or lost respect for the code,you had to pay the hard price, which could include the lossof your life. It's a shame, but it seems today that we've lostintegrity, respect and honor, but we earn the shame and'shame' is not a shame anymore, as many embrace andemploy it and it looks like a great business model for them,but to keep the code seems like the wrong thing to do.Teaching today is all about "let's look for a businessopportunity" but I'm looking for the right students thatwant to come study for the knowledge and to be astudent, and not looking to become a Grand Master in twoweeks or to use the experience as a business opportunity. There is a saying: 'When the student is ready, the
teacher will appear.' When you are ready to learn, then youwill learn. The concept of 'teacher' is simply a metaphor. It
does not need to be a person to be a teacher - life is ateacher, nature is a teacher. This is why - "Always student, sometimes teacher." The
wish to study is the wish of being a good teacher. KAPAP's original name is 'KAPAP: Israeli Krav Maga',
and this is how it appears on Israeli Governmentdocuments, as an open Fellowship with the agenda ofteaching Israeli Martial Arts and BUDO. When I moved tothe USA in 2001, some 'business people' decided to try totrademark what they didn't own and some tried later totrademark 'Kapap.' I am the founderof Kapap and no one had everused the name KAPAP sincethe old days in Israel, but Irenewed it. The wholeidea of suing was not forme, so I decided to
"You cannot put aCrown
on a Clown, and expect a King!"
"The concept of'teacher' is simply
a metaphor. It does not needto be a person to
be a teacher - life is a teacher,
nature is ateacher. "
only use the word KAPAP in my work and teaching. Itstarted with only one on the Internet claiming to teachKapap, 15 years ago, when there was only one school (myschool.) I then started to write books and set my art toDVD. I started see afterwards new 'Founders' to mysystem that claimed to be the 'real one', and I'd smile,shake my head and say "whatever!" Beginning in 2014 Inow call my KAPAP by the name ANA - Avi NardiaAcademy. I certainly hope that no one can claim now thatthey are the real Avi Nardia! Only time will tell.It's no longer a world built around respect and honor.
Too many 'business people' bring no respect, no integrityinto their work. For them it's strictly about looking foropportunities to capitalize with minimal investment - in youand through you. It seems the main problem is the
students. We call them customers, and once you don'tpromote this 'student', they are likely to go to anotherschool, or in some cases graduate themselves, and thenpromote themselves as the new Grand Master in yourstyle. Loyalty is forgotten, and discarded. I always love tosee my teachers, like McCarthy Hanshi, as each time Ithink it's only happened to me, but I see it's also happenedin his yard. This too makes me sad. I had hoped for manyyears that as you got older and as you taught for moreyears, that it would happen less. But it seems that thefurther you travel, the more you get, and we teachers needto be ready for this.So many talk and slander behind our backs, but
remember, "Even a broken clock will show the right hourtwice a day." That's what I see mostly today. Yes, some have
Self Defense
"Don't worryabout those whotalk behind your
back - They are behind
you for a reason."
"It's no longer aworld built aroundrespect and honor.Too many 'businesspeople' bring no
respect, no integrityinto their work. "
Self Defense
"How do you wantit to be, do you doit for money only or
do you do it tobecome an
accomplishedMartial Artist?"
knowledge, but it's not enough to be called a GrandMaster without your ability to support that claim.Based upon the writings of Arthur Schopenhauer
["All truth passes through three stages. First, it isridiculed. Second, it is violently opposed. Third, itis accepted as being self-evident."] McCarthyHanshi said to not forget the 3 circles: "First they'llturn their backs on you and call you a fraud andclaim your Karate (or in my situation, Israeli MAKrav Maga) is worthless or unimportant, next -seeing that you've attracted many students whoare fascinated by what you do and how you teach,they purchase your DVD's, books and even attendyour seminars to study your work, all the timethey're undermining your credibility with half truthsand outright lies. Finally, they try to copy it andpass it off as their own work in spite of the obviousmistakes in their transmission. Their defense, if andwhen questioned as to the authenticity or sourcefrom which their new learning comes, is to boldlystate that they've always known such teachings orthat they were completely evident to anyone whotook the time to study it!" These are the 3 circles
when you are a creative and innovative MartialArtist. As my Rugby friends say, "When you runwith the ball, the rest will all try to tackle you."
"Don't worry about those who talk behindyour back - They are behind you for a reason."
Keep up YOUR good work. Keep building on it -your work, your ideas. Stay positive and do it theright way since it's your way. Smile when you seethe copycats go astray and remember: "We all climbon the same mountain, but it seems that many justwalk around the mountain and never climb."
© Copyright 2015 Hanshi Patrick McCarthy,Kyoshi Avi Nardia and Tim BoehlertANA - Avi Nardia AcademyAvi Nardia Kyoshi 7th Danwww.avinardia.com
Patrick McCarthy Hanshi 9th Dan www.koryu-uchinadi.com
The DVD "Krav Maga Research and
Development" comes from the will of four
experts in Krav Maga and combat sports,
Christian Wilmouth and Faustino Hernandez,
Dan Zahdour and Jerome Lidoyne. To date, they
lead several clubs and a group of twenty
instructors and monitors from multiple
disciplines, from Krav Maga or
Boxing to the MMA, Mixed
Martial Arts. This work is not
intended to highlight a new
method or a specific
branch of Krav Maga, it
simply aims to present a
Krav Maga program that
focuses on the
importance of the
"content" and share their
experi
REF.: KMRED1
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.
Budo international.comORDERS:
National Technical Dire Instructor Body
Mail - benguyen707@Website - http://www.
National Technical Director TUNISIA Instructor Black belt 4thDan Taekwondo National Trainer
Mail: [email protected]
Tel. - +216.252.536.30
Regional Technical Director ALGERALGERIE - Instructor 1th Degree Self
Defense - Instructor Tonfa Mail: [email protected]
Tel. +213.662.208.857
National Technical Director ALGERIAInstructor Black belt 4th Dan Jiu Jutsu
CN. 3th Dan Taï JutsuMail - [email protected] Tel. - +212.774.509.241
National Technical Director PORTUGAL - Instructor Black belt
4th Dan Kempo - 1er Dan Self Pro KravMail - [email protected]
Website -http://www.kiryukenpo.com
National Technical Director BELGIUMBlack belt 5th Dan AikijutsuMail - [email protected]
Tel. - +32.494.773.812
National Technical Director QATAR -Instructor Black belt 5th Dan Karate
CN. 4th Dan AikidoMail - [email protected]
Website - http://www.karimdizaj.com
Nat Instruc 1er Da
M Web
National Technical Director MAURITIUS ISLAND
Instructor National Trainer MMMail - [email protected]
Tel. - +230.578.142.27
Regional Technical Director SETUBAL(PORTUGAL) -
Instructor Black belt 1er Dan Kravmaga -Mail - [email protected]
Tel. +351.967.272.706
National Technical Director SRI LANKA
Instructor Black belt 7th Dan Toreikan US- CN. 4th Dan Kick BoxingMail - [email protected]
Website - http://www.karimdizaj.com
National Technical Director SWIZERLAND Assistant Self Pro Krav
Mail - [email protected] Website:
http://clubspkdouvaine.e-monsite.com
National Technical Director ARGENTINA- Instructor Black belt 5th Dan Karate 1er Dan Self Pro Krav and Police ROS
Mail - [email protected]: http://www.defperpolicial.com.ar
ector VIETNAM - yguard
@yahoo.com.vn cibpf-asie.com
Regional Technical Director LOSANGELES (USA) - Instructor CN. 1thDan Kravmaga and Self Pro Krav
Mail: [email protected] Web:
http://www.academielevinet.com
National Technical Director LUXEMBOURG -Instructor Black belt 1er Dan Self Pro Krav -
CN. 1er Dan Cane DefenseMail - [email protected]
Website - http://www.selfdefense.lu
Regional Technical DirectorADRAR ALGERIE Assistant Self Pro Krav
Mail [email protected]
Tel. +213 7 81 31 15 95
ional Technical Director SPAIN -ctor Black belt 4th Dan Kempo -
an Self Pro Krav and Police ROSMail - [email protected] - http://www.davidbuisan.es
National Technical Director AUSTRIA and BULGARIA
Instructor Black belt 1er Dan SelfPro Krav - CN. 1er Dan Police ROS
Mail - [email protected]: http://bsa-security.com
Regional Technical Director TIZIOUZOU ALGERIE
Instructor Black belt 2th Dan JuJutsu - CN. 2th Dan Hapkijutsu -
Mail : [email protected] Tel. +213.790.499.645
Regional Technical Director CATALUÑA(SPAIN) - Instructor Black belt 6th Dan Karate
CN. 4th Dan Full ContactMail - [email protected]
Tel. +34.938.662.173
Regional Technical Director ANTI-LLES - Assistant Self Pro Krav -
Mail - [email protected] Tel. 06.90.56.90.24
National Director PAKISTAN -Assistant Self Pro Krav
Mail - [email protected]:
http://www.musammam.com/represen-tative.php
National Technical Director RUSSIA -Instructor Black belt 1er Dan Self Pro Krav
Mail - [email protected]. - +792.486.156.79
National Technical Director CHILEand PATAGONIA - Instructor Black belt
2th Dan Kravmaga & Muay ThaiMail - [email protected]
Tel. - +54 0299 155069075
r
MA om
Silat
God makes them and then they come together! Cass Magda and Bob Dubljanin areprobably two of the best minds that I have encountered in the world of Martial Artsthroughout my long career as a journalist. Without undervaluing anyone, it has alwaysseemed to me that their reflections are in that space where one arrives only in order toopen doors, break padlocks, and air out the bedrooms. Their flirtations with thetraditional Arts have never been trivial. “Being open is not to say that anythinggoes,” declares Bob. “One thing is JKD and the Arts of Southeast Asia aresomething else altogether, be they traditional or modern.” Perhaps thisis the distinction adequate for someone who considers that freedomdoes not contradict respect. Quite the contrary to what it mightseem, everything is already invented, and the problem is knowinghow to put things in their place and understand what lies
Southeast Asia
Buka Jalan SilatThe art of directing the fight
The main doctrine in Buka Jalan is to actively and offensively take over the responsibility for thefight. Buka means to open, Jalan is the path or way, so Buka Jalan translates to open or make theway. To make the way in your fight is the most important conviction from which all moves,techniques and theories are produced where they become the physical expression of this one singlecentral theme. Buka Jalan specializes in civil self-defense applications, so the idea of making the wayproves to be excellent in uncontrolled and wild street typescenarios. In this type of situation one should not try toreact but actively direct to protect and defend oneself.This insight and the necessary skill to direct youropponent determines all techniques andapplications in Buka Jalan.
There are a number of principles that supportand reinforce the main strategy of making theway, since they are conceptualized to work inunison with each other. In this article we aregoing to introduce and describe the first twoideas.
The different methods of directing
To be the director and let your opponent be theone directed is the first principle to take over control ina fight. Instead of guessing or anticipating what the
underneath the apparent. To remain in the technique is a limited and limiting path, topursue the essence behind it, there lies the way.Teacher and student have known how to open many doors to those who have had theprivilege of having contact with them over the past two decades in one of theirseminars throughout the world.Without a doubt, both were tremendously influenced by the great Inosanto, and likehim, have given ample demonstrations of great passion for the Arts of Southeast Asia.“I have found in them a continuous source of inspiration to see things from differentperspectives,” Bob Dubljanin tells us.However, his approach has always been open and full of infinite curiosity, showing howJKD has affected him as well as Cass Magda forever. Frequently present on our pages, Bob isby no means unknown to our readers.He has recorded anumber of videos withus and al l of themhave been wel lreceived by the public,and, what is moreimportant, have had theapproval of the experts;however, it has been a whilesince he has brought out a new one,which today we have the pleasure ofpresenting to you on these pages, aproject that we are sure will be a source ofinspiration to any student of JKD or of theArts of Southeast Asia.
Alfredo Tucci
Silat
“Buka Jalan specializes in civil self-defense applications, so the idea of making the wayproves to be excellent in
uncontrolled and wild street type scenarios.”
“Techniques and theories areproduced where they become the
physical expression of this one singlecentral theme.”
ABOUT THE AUTHOR: Bob Dubljanin is an instructor of the Southeast Asian Martial Arts (Kali, Buka Jalan Silat,
Muay Thai) and Jeet Kune Do in the MI Association under Guro/Sifu Cass Magda. Dubljanincurrently operates the “Southeast Asian Institute of Martial Arts” in Mannheim, Germany andteaches seminars in Europe. For his current seminar schedule, visit us in the web at:www.soai.de or reach us via email: [email protected]
opponent is going to do, the BukaJalan player dynamically accepts thecommitment to the confrontation. Thisprinciple can be applied in two ways:
A) By exposing and baitingB) By forcing with a set-up attack
to counter his counter attemptIn the first umpan (baiting)
variation one can observe the BukaJalan player exposing the chosentarget or line, usually the head orupper torso, in order to “invite” theattack of the adversary. The idea is
to draw a committed attack so thatthe trap can be efficiently closed.Proper sense of distance andsuperior timing are developed inyour training for this umpan methodto succeed.
The second variation of being thedirector is used against an opponentwho is defensive or a counter-fighternot trying to attack but waiting foryour attack. Here we wil l use a“negative” attack so the other sidestarts his defense to immediately
counter his reaction. The “negative”attack is not designed to score like a“positive” punch but to force him toblock, defend, back away, clash,grab etc. and this reaction will becountered. In this method the onewho is init iating becomes thedirector since he is in control oftiming and tempo of the encounter.Not trying to wait but initiating thefight to force the opponent to attackis one key for making the way foryour fight.
“Buka means to open,
Jalan is the pathor way,
so Buka Jalantranslates to openor make the way.”
After the initial entry, be it by exposing or forcing, apukulan (punching) blitz of punch and elbow strikeswill usually follow next. The strikes are used to strikedown, stun and unbalance the opponent; they areused to start putting pressure on the other side. Thispressure is to be kept constant until the end of thefight.
Constant forward pressureThe creator of Buka Jalan, Guru Cass Magda,
describes the second principle as such:In Buka Jalan, constant forward pressure means
attacking your opponent to keep him in a perpetual stateof unbalance. Instead of being able to counter, youropponent becomes concerned with trying to regain his
Silat
Southeast Asia
composure, footing and equilibrium. Ashe’s trying to escape or counter, he’salready being countered. Because hehas no base to renew his attack, youcan trample him with your counter-attacks. Constant pressure is a MartialArts water-hose blasting punches,kicks, elbows, body shoves, traps, legsweeps and trips. It is hard, brutal,unrelenting, and unmerciful. There isno good way to counter – it’s evenhard to breathe! Constant forwardpressure allows you to find or createopenings, set-ups, various follow-upsor footwork placements. It doesn’tmean trying to move your opponentstraight backwards, but ratherpressuring them in the direction of yourtechnique. Your attack must guide youropponent into your future hits, locks,sweeps and takedowns. It’s saferbecause you are not waiting forincoming blows, but instead activelyoverwhelming your opponent.Psychologically, this also puts you in asuperior frame of mind.
You cannot apply this pressureintermittently. If you do, your opponentwill push forward into the space yougive him. In an encounter, an attackerwill constantly probe you – pressing,hitting, and trying to get in and find aweak spot. If he senses you’ve let uphe wil l move in violently, withoutcompassion.
Constant forward pressure is afundamental tactic taught in BukaJalan. It means total commitment. Ifthe enemy is physically off-balanceand struggling, his is also mentallyoff-balance and struggling, and oftenhe is desperate. When he attacks in awild frenzy you must not give in.Cracking under emotional pressure is
Silat
the worst thing you can do because you’ll end up covering-up, helpless,praying the attack will end. The emotional pressure to quit can be kept at bayby pressing forward; otherwise, when an opportunity comes to counter-attack, you will have no emotional reserves left and will be unable to takeadvantage of the opening. Proper training and discipline will ensure thisnever happens to you.
From theory to application
The punches, kicks, sweeps and throws of the different school of Martial Artsdo not technically differ very much from each other. The real difference isusually in the theory and tactical application of these techniques. The theorybecomes the manual, so to speak, of the physical execution. In Buka Jalan,form follows function, so all techniques are grouped, trainedand developed with the aid of these described ideas. It is atruly principle-orientated Martial Art that is led by theexecution of these tactics. The techniques follow theprinciples and enable the Buka Jalan student tofight his fight without guessing what comes next.The deeper understanding and experience withthese theories become knowledgeable “glue”that holds together all technical componentsand lets those function effectively in combatapplication.
Silat
“The punches, kicks, sweepsand throws of the differentschool of Martial Arts donot technically differ verymuch from each other. The real difference isusually in the theory andtactical application ofthese techniques.”
All DVDs, wichi is produced byBudo International, si provided andalone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like ishowever neves offered with aspecial holograma sticker. Besidesour DVD is characteristed coveringsby the hig quality in pressure andmaterial. If this DVD and/or the DVDcovering do not corespond to therequirements specified above, itconcerns illegal pirat copy.
REF.: • LEVIREF.: • LEVI8
Budo international.comORDERS:
All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.
REF.: • KYUSHO 22REF.: • KYUSHO 22
The "Kyusho Tactical Control Program" (KTCP), was designedfor Subject control escalation with Legal, Medical and TacticalDeployment research, field-testing and coordination. The scopeof this program is for use by but not limited to, LawEnforcement, Security, Emergency Medical or Response, Coast
Guard, Military, Governmental Agencies, Body Guardsand Personal Security. This Basic Module is
comprised of one set of 12 primary targetsand integrated into 4 modules of
escalating force restraintcontinuums. There are several
weak structures in the humanbody that can be utilized by an
Agent to simply gain controlof a perpetrator moreefficiently thanconventional use of forcemethods. This would bein the protocol should asituation escalate pastthe verbal commandstage. These Kyusho(Vital) points are wherethe Agent can make useof internal systems of
physical control such as,Nerves, Tendon Structure
and natural Nerve Reflexesof the body. Not requiring
heavy force Fine or complexmotor control or even sight… all
of which is subject to failure andloss in high adrenaline states. This
information is dedicated to the Brave andResilient Members of these Agencies around
the world… Thank you for what you do!
Budo international.comORDERS:
Confronting a knife, pocket knife,cutter, or any kind of edgedweapon, is one of the nightmaresthat all security experts fear. Toconfront the situation withdiscernment, good sense, and withthe appropriate technicalfundamentals I the proposal of theknown expert in Kyusho Jitsu,professor Evan Pantazi, directorand founder of KyushoInternational. In a thorough andserious way, he has addressed thisdilemma, backing himself up, as hehas on previous occasions, with hisknowledge of vital points.
The vital points describe placesthat are especially accessible onthe human body. Attacking them inone way or another producesdifferent effects and variousreactions that we should notoverlook in questions of self -defense. Looking for the maximumefficiency is essential when whatwe have in front of us is as gravelythreatening to our physicalintegrity as is a cutting object, andprofessor Pantazi knows it.
In this magnificent article, heanalyzes the question andhighlights the most useful points.For those most interested in thesubject, and in the video that wepresent along with this article, heproposes multiple tactical andtechnical solutions to resolveassaults in front or from behind,and in multiple angles of attack.The technical combinations thatare an effective and devastatingarsenal for self-defense, no matterwhat your martial style is.
Kyusho
“At the time of needis not the time torely on thinking oruseless techniques
perpetuated intraining halls allover the world.”
“The method youuse must work withfor a more realisticor reliable methodwill be based on amulti-directional,
free flowing barrageof slashes,
stabs and hookingmaneuvers.”
he blade has long been a devastatingand highly used weapon not onlyfrom accessibil ity, but also it’sefficiency and psychological impact.It is as fast, as subtle, as brutal as thehand that wields it and the mind that
guides that hand. Many cultures and stylesrevolve around this simple tool that has been inexistence almost as long as man. It is all thisand more that one must not consider whenfacing a blade, but must have trained diligentlywhile considering it. At the time of need is notthe time to rely on thinking or useless techniquesperpetuated in training halls all over the world.Training for static or single attacks usingcomplicated arm and joint maneuvers isdangerous and setting the user up for failureunder duress. The method you use must workwith for a more realistic or reliable method will bebased on a multi-directional, free flowing barrageof slashes, stabs and hooking maneuvers.
A major consideration that many do not knowor think of is the primal affects of stress, wherethe surge of adrenaline will hamper fine motorreflexes as well as strength, clear thought, vision
and deep psychological fear. We must alsoconsider that if you have sweaty hands, or evenbloody, the slip factor for grabbing and retainingthe arm of the assailant is very high andprobable. All of these factors will prohibit thedefender from the very intricate fine motor skilltechniques that look so great in the training hallin a calm cooperative environment.
Another problematic occurrence if you domanage to get a hold on the assailants bladewielding limb, is what their other hand will thendo. Will it grab you to restrict your motion, orbring you into a grappling match with youpreoccupied with the blade and then at severedisadvantage? Or will they strike you so that youare now being attacked on two fronts andincapable of carrying out your defense? There isalso another major problem when you grab ahold of an opponent and that is their reflexresponses. When you quickly and firmly grab aperson there is an automatic withdrawal reflex.This will cause the muscles of the grabbed armto tighten and pull back as the rest of the bodyalso tightens and also withdraws. Thiswithdrawal reflex can get you seriously injured as
Kyusho
T
the blade can be retracted across the hands or arms you are restraining themwith. You have also just placed them into a fight frame of mind as well as initiated asurvival mode of their own. This will kick in primal and illogical actions from them…something extra you do not need to deal with. One other thing to consider is that if you do getcut across the wrist or arm, your grabbing and control of your hands becomes impossible. If youworked all your defenses on grabbing and controlling, you are then at a severe disadvantage.
Typically people are also taught several methods of handling various attacks, this in itself isproblematic. Not only have you multiplied the difficulty factor but you will be placed in thedisadvantage of needing to react with a proper action, under stress when the mental faculties areseverely limited as is your probability of success. Also if there is even slight variation from trainedtechnique, it will more often than not fail adding increased stress and if not trained for mind numbingsurprise. The more efficient method would be a single approach so no matter which direction or waythe opponent comes at you, thinking and choice is limited and direct response is taken.
Kyusho
Also most training includes dropping orthrowing the opponent… which becomesa fight unto itself with a withdrawing andtightening opponent. But what thedefender must also be aware of is as theopponent is falling, with all their bodyweight, is the probabil ity that thedefender wil l loose grip or ult imatecontrol of the weapon. They may evenbecome unbalanced to fall with theopponent or pulled into an unbalancedsituation where the opponent again has apossibility to cut or stab with the blade.Or you could have dropped the opponentonly for them to start slashing at yourlegs and ankles where there are majorblood vessels that can be severed.
There is another typical training methodtaught in most styles or programs and thatit disarming the opponent. With all of theabove mentioned difficulties and reflexiveinstincts, disarming is a very dangerousproposition. But even saying the defenderis able to disarm the weapon withoutgetting stabbed or cut, there is theproblem of their fingerprints also on theweapon. In today’s litigious society theprobability of you going to court when thebeaten defender sues you for assault,there is now a question as to who was theoriginal wielder of that weapon.
One last caveat to address is thetraining devices so many use as well thatyield less realistic scenarios. Whentraining with wooden, plastic or evenmetal training knives does not help withthe psychological side of the equation.Using real knives such as the flip knives,balisongs, machetes and even boxcutters (dulled for safety, but still feelingand appearing to the body and mind asreal) will add the necessary componentto the training program.
So what is left to work with under suchbrutal and stressful attack with a bladedweapon? Instant dysfunction, reversal ofmentalities of the attacker to the defenderand simple reflexive responses that willremain consistent with increasing stresslevels or laceration of hand, wrist orforearm muscle and tendons, or even to
the body and legs. We must also limit ourresponses so that there is only onemethod to be employed which willeliminate critical or panic thinkingdemands posed by random irrationalmotion from our attackers. It must alsonot be based on grabbing or restraining inany manner, but rather simple strikingactions that even if the wrist or arm is cut,remains possible with gross motor skills.
There are two main methods we cantrain in Kyusho, it is up to the practitionerto work with both and choose theirpreferred method. Then to train theirselected or preferred method only butnow under all types and levels of bladedweapon attack. These are armdestructions to dysfunction the weaponwielding arm, then following up to thelegs, body and or head if needed. Orattacking the source of the attackbypassing the arm and weaponaltogether. In both cases we must notconsider the blade as it is not theproblem, the problem is in the wieldingopponent. So we must affect thatperson in a way that renders the blade asthe inadamate object that it is. So we willaddress both methods here so you cangain insight on your preferred or naturaltendencies. This is critical as if you fightyour natural instincts or mobility, thenyou will be far less effective. You mustfind and hone your own natural skillsrather than being forced to trainsomeone’s prearranged techniques.
Understand that there are neverguarantees you will not get cut in anencounter with a bladed opponent, tothink otherwise is foolish. But train howto survive the attack with minimalpossibility for injury as well as quickincapacitation of the attacker.
Method 1The arm destructions are more
beneficial for those that would prefer tokeep distance and work more defensiveoffense. Since this is the modality thatmost people naturally have we will start
Kyusho
with it. The main target is the Kyusho Points (nervesof the arm), to dysfunction not only the arm of theopponent, but when performed well the entire bodyand even levels of consciousness. To start the painthat these targets induce can be enough to alter themindset of the opponent to a defensive mindset andless likely to continue. But with this pain also comesthe dysfunction of the arm muscles as well so thatthey cannot swing or maneuver the weapon, even ifthey are still able to hold it. Again this will change theopponent to the one at disadvantage and possiblehasty retreat. But if you reach a level of alteredconsciousness or whole body dysfunction you havebecome the victor as opposed to the victim.
This type of training must start with slow action, butwith a constant spontaneity from all angles, weaponposition or grips and with as many different sizes andtypes as possible. The intensity and environmentshould also be changed so that more unfamiliarity,challenge and stress must be introduced. Thepractitioner must become very adept at reaching,deploying and successfully dysfunction theopponents arms under this imposed stress,spontaneous angles of attack as well as longcontinuous attack before ever thinking of additionaltargeting on the head or body. Too often people wantmore rather than better with what they have… thismust not happen as the dysfunction of at least thearms is imperative in this method.
Let’s now look at the targets that will be the mostefficient and disabling for the opponent. Starting onthe back of the hand there are nerves in betweeneach of the metacarpals (small bones on the back ofthe hand) that when struck will cause the hand toinvoluntarily splay open so that the grip and control ofthe weapon is not possible. These are mainly extrapoints not labeled as the typical acupuncture pointsas they were found after the standardization of thepoints 3000 plus years ago. But they all are actualpoints that affect the neurological functionsnonetheless.
On the wrist we have so many points that choiceor even very accurate targeting are necessary,because hey are so numerous and close inproximity. These points located all around the baseof the hand (LI-5, TW-4, SI-5, H-6, P-7 & L-9) andyet another group or circle of points two fingerwidths further up the wrist. These will all weaken thehand so that the weapon will either be released orheld so loosely that cutting or stabbing will not beaffective. The angle and direction for these pointscan al l be straight in for pain and l imiteddysfunction, but even more efficient and disruptive
Kyusho
dysfunctional reactions can be accomplished by strikingthem toward the hand will be best.
At mid forearm, right where the forearm muscles endare again a grouping of Kyusho targets that will cause thesame reactions on the opponent (L-6, LI-7, SI-7, M-UE-28 & P-5). Also two finger widths before the elbow is yetanother ring of targets (LI-10, L-5, SI-8, H-3, P-4). On theupper arm two fingers from the elbow is another ring ofKyusho Points that now must be struck straight into thebone (with the exception of TW-11 which is still best tostrike toward the hand), to completely dysfunction thearm and body, nauseate the opponent and causedizziness or altered consciousness. These points are (P-3, LI-13, SI-8, TW-11 & H-2). One more set of targetsagain in a band like position around he upper arm around
the head of the biceps. These are all best struck straightinto the bone for maximum affect, including all thedysfunctional and physiological affects mentioned earlier.These points are now (LI-14, TW-12, P-2, L-3 & L-4). Ifyou are getting the idea that the exacting targeting and ornames of the points are less important due to the sheernumber and proximity, then you will understand howpossible and probable it is to use Kyusho in such need.
Method 2The second method is for those either more
experienced or confident to close to the real source ofthe attack being the mind of the opponent themselves.This takes years of constant training and targeting as well
Kyusho
as timing, distance recognition and proper response tothe opponents undetermined actions. In this method weare now totally offensive and will not consider attack ordefense to the opponents arm at all. But rather we willpenetrate immediately to attack the head targets to getimmediate physical dysfunction with altered levels ofvision and consciousness. The opponent will no longerbe able to retain the weapon or make attacking motions ifyou are in a continuous barrage of strikes to their headand neck.
Again we have to forget the desire to grab and controlthe arm as many problems and difficulties will arise. Wemust also forget the notion of disarming or the armsaltogether as they are not the main source of theproblem. The problem is the mind and intent of the
assailant and all centered in the brain itself. If we canshut down the source of the intent and functions, thewhole body will now be incapacitated and the attackstopped. By working with specific angles of attack inbeginning practices we can learn the rage and path theblade can take. By working again with timing anddistancing, but now on a relatively stationary opponent ascompared to the rapid and unpredictable arm motions,we can launch an offensive straight to the source. In thismethod you must instantly get inside the arch of theattacking arm to get in as tight as possible.
You must also remember to keep our back toward theincoming arch if from the side as there are far less vitalstructures or chances for life threatening injuries.Receiving a slash or even a stab to the back will have the
benefit of less bleeding and less likelihood ofpenetrating into internal organs and other vitalstructures. You will also not see the attack occur northe blood which will send some people into a stateof shock that will severely limit their ability or evenconsciousness. As you close the distance on theattacker it is important to also lift the knee of theleading side of your body and raise the elbow to theknee, with forearm up palm facing inward at thesame time. This will add speed and several otherprotective positions of the human structure.
As you lift the knee as the main inertia of the entrythis will bring the rib and hip structures closertogether so that if a slash does occur it will only besuperficial and not able to penetrate into the internalstructures. It will also compress the ribs, Increasethe density of the muscles and even compress thefat and skin to that side of the body. The raisedforearm with elbow by the knee will not only lessenthe chance of a slash to the body but also protectthe vital areas of the neck and head. This posturewill also enable you forward momentum to continueeven with a slash to the leg. If your opponentslashes the muscles and or tendons of the forwardleg while standing on the ground, the leg will be lessable to be moved forward toward the opponent. Ifhowever it is cut in the air from the entering motion,gravity will still allow the forward motion, bodyweight and inertia to continue toward the source ofthe attack.
As you descend into a straddled leg position onthe opponent you must keep your arm over theattacking arm of the opponent. So as you stay bodyto body, as it will severely limit the mobility of theirarm (and weapon), as well as maintain both hands attheir head level to deploy continuous multiplepressure point attacks. Keeping forward pressure asyou barrage the head points of the assailant willplace them in a confused, limited and helplessposition. The idea is to strike the opponent intounconsciousness, loss of weapon or preferably both.
Kyusho
“Where the assailant has been ableto place the blade on you in a
threatening manner is even moredesperate a situation and requires
high level of skill tonot be seriously
injured. ”
“So as you stay body to body, as it will
severely limit the mobilityof their arm
(and weapon), as well as maintain bothhands at their head level
to deploy continuousmultiple pressure point attacks.”
Pressing AttacksWhere the assailant has been able to place the blade
on you in a threatening manner is even more desperate asituation and requires high level of skill to not be seriouslyinjured. It is not readily possible to simply dysfunction theopponent before they can slash or stab you once theblade is against you. There is one Kyusho method thatwil l al low you to get past this problem and thendysfunction the opponent. If you grab, or strike anopponents arm that has a blade pressed firmly against
you, their reflexes will fight this hard aggressive motion.This will strengthen their muscles as the struggle againstthe force and you will be inured in the process. Howeveras improbable as it sounds, if you use lighter pressure oragainst the arm, the reflexes do not immediately comeinto play and you will gain the necessary distancebetween you and the blade to then apply the attack.Again we see the principles of Yin and Yang (Positive vs.Negative), come into affect. And again with dedicatedpractice, it becomes second nature.
Kyusho
“Again we see the principles of Yin and Yang(Positive vs. Negative), come into affect.
And again with dedicated practice, it becomes second nature.”
Always with the Ochikara, "The Great Strength" (called e-bunto in the Shizen vernacular tongue) or secret wisdomof the ancient Miryoku Japanese shamans, as a backdrop, the author takes us into a world of genuine reflectionsthat are capable to move at once both the reader's heart and head, thus placing him continuously in front of theabyss of the invisible, as the true final frontier of personal and collective consciousness.
The spiritual taken not as religion, but as the study of the invisible, was the way of the ancient Miryoku sages toapproach the mystery in the framework of a culture as rich as unknown, to which the author has wholeheartedlydevoted.
Alfredo Tucci, Manager Director to Budo International Publishing Co. and author in the past 30 years of a largenumber of titles about the Warrior's Way, offers us a set of extraordinary and profound reflections, which can beread individually in no particular order. Each one of them opens up a window to us through which we can take alook at the most varied subjects from an unexpected angle, now dotted with humor now with forcefulness andgrandiosity, placing us in front of eternal matters with the view of the one who has just arrived and doesn't agreewith the common places in which everyone coincides.
We can affirm with conviction that no reader will be indifferent to this book; such is the strength and intensity ofits contents. Saying this is saying a lot in a world crowded with collective mangers, interested and behavioralideologies, manipulators and, in short, spurious interests and mediocrity. It is therefore a text for big souls andintelligent people who are ready to look at life and mystery with the freedom of the most restless and scrutinizingminds, without dogmas, without transient morals, without subterfuges...
WING CHUN GUNWING CHUN GUNWING CHUN GUNWING CHUN GUNGGGG FUFUFUFU::::
The Explosive Art of Close Range CombatThe Explosive Art of Close Range CombatThe Explosive Art of Close Range CombatThe Explosive Art of Close Range Combat
Sifu Randy Williams’ extensive collection of books
on Wing Chun in 6 volumes, the series contains the
history of Wing Chun, the theory and description
of all Wing Chun forms in detail, Volume 6 is
focused on instructing the system and provides
additional information about Wing Chun Combat
Theory from A to Z! This great work, originally
written in 1988 and newly revised and updated is a
must for the library of any serious student of the
art.
You can order the entire series as a set of 6 books,
or by individual volume, and the new DVDs can
also be ordered individually or in sets directly from
us through our website:
www.shop.crca.de
One Volume € 49,90
SingleWeapon DVD € 39,90
Biu Jitsu DVD € 25,90
DVD Set (all 5) € 149,90
The shipping & handling costs are not included for more
information please contact us:
Copyright © 1989 CRCA Enterprises
Publisher CRCA-Lopez / Mario Lopez,
Atroper Str. 56, 47226 Duisburg, Germany
E-Mail: [email protected]
Five brand new Wing Chun DVDs
1 DVD: “Bot” Jom Doh Basics
Complete “Bot” Jom Doh Form, 108 Motions,
Historical Information about the Wing Chun
Broadswords, Detailed Knife Blocking and
Striking Techniques, “Bot” Jom Doh
Footwork, Details of the footwork orientation
of the form, One-man “Bot” Jom Doh Drills
2 DVD set: “Bot” Jom Doh, Applications,
Drills, Concepts & Principles
Applications of the motions from the “Bot”
Jom Doh form, Knife vs. Knife, Knife vs.
Pole, Drills, Concepts and Principles,
Specially created Knife drills for the Wooden
Dummy, Detailed Knife Blocking and
Striking, Knife techniques as compared to
their empty-hand counterparts, Cutting
Principles
1 DVD: CRCA Wing Chun “Biu Jitsu”
Groundfighting
Contents: The concept of “Reverse
Engineering,” Chokes; Rear, Front Standing,
“Guillotine,” Head-and-Arm, Side-Mount
Shoulder Choke, and many other
Groundfighting drills and techniques.
2 DVD set: “Look Deem Boon” Gwun
Volume 1 ( 55 min. )
Content: Pole Details, Pole Drills, Pole
Footwork, Form Overview, “Look Deem
Boon” Gwun Form, 6 ½ Strikes of the Pole,
Applications: Pole vs. Pole
“Look Deem Boon” Gwun
Volume 2 (60 min.)
Heavybag Drills, Dummy Drills, Two Man
Drills, Form overview, Pole vs. Knife
The Zen Nihon Toyama Ryu Iai -Do Renmei ( ZNTIR ), oncereviewed and adapted the concepts and methodology of aschool that proceeds from a method of real combat, is the bodythat currently intends to maintain this tradition and originalforms alive through a system that unifies body, mind and spiritin a realistic and effective way. This DVD was done at the
instance of practitioners of the Spanish subsidiary of theZen Nihon Toyama Ryu Iaido Renmei (ZNTIR -
Spain Branch) to present to everybody acombat style with a real sword, created last
century, but with roots in the ancientfighting techniques of feudal Japan. In ityou will find the basic structure of themethodology applied in the style,from the coded warm up andpreparation exercises, cuttingexercises, guards, the school kata,work in pairs and initiation in theTameshigiri or cutting exerciseson a real target , the cornerstoneof the Toyama- Ryu. We hope thatknowledge of the existence of astyle such as the Toyama-RyuBatto-Jutsu acts as a revulsive ofa traditional way and yet verydifferent from current combat
disciplines, that attract those whowant to go further in their martial
practices. Those interested in theJapanese sword and initiates, will find
useful this DVD both as support to theirlearning and as a reference.
REF.: • TOYAMA1REF.: • TOYAMA1 All DVDs, wichi is produced by BudoInternational, si provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however neves offered with aspecial holograma sticker. Besides ourDVD is characteristed coverings by the higquality in pressure and material. If thisDVD and/or the DVD covering do notcorespond to the requirements specifiedabove, it concerns illegal pirat copy.
Budo international.comORDERS:
