martial arts magazine budo international 298 november 1 fortnight 2015
DESCRIPTION
Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue. 200 November 1 fortnight - Year XXIVTRANSCRIPT
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.: • KMISS-1REF.: • KMISS-1
In this DVD, Master Marco Morabito, with exclusive rights forBudo International, presents a preview of the Israeli KravMaga Survival System. In this colossal work, the basicmethod and techniques of this discipline are illustrated in aclear and transparent manner. That is, no secrets, but in an
extraordinary job that will take you to the verycore of self-defense. The techniques are
illustrated so that they are easilyunderstood by all. A truly uniqueopportunity to approach self-defense or improve yourknowledge on the subject. Theauthor is one of today’s topself-defense exponentsworldwide and has to hiscredit an extensiveexperience both in themilitary field and in securitycompanies; awardedseveral times in variouscountries and acclaimed byhis courses and seminarsaround the world, he hasbecome an internationalspokesperson for differentcombat and self-defensesystems, little known but highly
effective. He has learned andstudied all over the world, from
Japan to the US, via Poland, Spain,Cape Verde, Germany, Israel, France
and Russia, a continued research inremote areas of the world, such as Siberia or
the desert of Texas, without stopping at any point inhis tireless search for new knowledge without ever stopasking questions. The Israeli Krav Maga Survival System isnot a discipline or a set of rigid rules, but a method, a processof continuous and constant evolution. This makes it adaptableto any situation and circumstance and permeable to anychanges, and then be able to take stock of its mistakes anduse the experience as an opportunity to improve.
Budo international.comORDERS:
ur mind is an essentially biological artifact,a conglomerate of energy and paths, builtnot only in the brain but in the wholenervous system. However, this incrediblegadget is the most complex and entropic
of all those that make up our being. On its own, themind consumes tons of energy and never stopsworking.
Source of most of our satisfactions anddisappointments, the mind is nevertheless a reality thatinvents the worlds in which we dwell. If reality is in itselfa recreation of the signs that give us our senses (whatwe see is not what things are, but what the lightreflected from objects stimulates in our retina and thenthe brain reconstructs, based on its own criteria; and thesame thing happens with the other senses...), thecomplex process of interpreting it, based on our pre-conditioning, is a rainbow of possibilities that no"Pantone" can match.
Not even our memories really exist, they are justrecreations of the brain by electrical impulses; memoryitself is a myth. The mind is a selfish "interface", the ideaof ??who we are and what is the world is alwaysdistorted and manipulated through it; the world resultingfrom it is a recreation. Yes, my friends, Matrix exists ineach of us.
The mind is always working on a basic and simpleprinciple: cataloguing it all. Thus, through associativeprocesses, the mind is able to overcome what it hatesmost: the unknown; it is therefore comprehensible thatthe primary natural system of the mind, rather thanlogical, as we modern people like to think, is analogic(from the Greek root ana, "on, over" and logos,"reason").
The association by similar and binary systems seemsto be a response quite natural for the mind, which formillions of years has had to solve practical issues at fullspeed. Like any other device, the mind has manyshortcomings and enormous structural failures, but ithas been able to bring us this far as a species; wecannot complain!
The problem is that the mind can't solve itself. Doingcatalogs, as accurate as they may be, doesn't allow usto avoid the gaps in the system. In the similitude of themind, the Masters of the Age of Enlightenment madeencyclopedias, but the accumulation of informationdoesn't make us wise. One thing knowing things andquite another is to understand them and use themwisely. It is true that instruction is the first step out oflack of knowledge, but ignorance is stubborn anddoesn't leave us by simply knowing more catalogs.
The classics say that one really knows when he is ableto explain what he knows, and that one is wise whenforgotten, that knowledge becomes part of himself. Justlike the wise, the true knowledge is economic, notentropic; gentle, rather than imposing; friendly andsimple, rather than pretentious. So I must say I've metsome very smart people, even supremely gifted, butthey were far from being wise.
Become the knowledge itself makes people sereneand friendly, so wisdom is a much more frequentprivilege of the elderly. As long as the mind commandsthe process and the data diarrhea fills everything,wisdom, shy as a sparrow, will flee from you.
The wise likes summaries, because he knows that themind is a tricky labyrinth of which is hard to get out, noteven with a map. The more complex is the speech,the easier the deception. That's why poetry is notstrange among the wise, since it adds thebeauty and the whim of the author to thesummary. In the end, creativity is the coupde grace necessary to do our ownthings, without it there is onlyrepetition, not integration.
The mind is a colorful fraudthat deceives the deceiver.We see things twistedbecause the mind is builtto survive and make
"The fool knows more in his own house, than the wise in someone else’s house"
Miguel de Cervantes
"To know and knowing how to prove is being twice worth it."Baltasar Gracián
O
decisions, not to understand itself. In our eagerness tomake catalogs, precious at times, and even accurate, weforget to live. In the feeling hides the treasure that opensthe wisdom box, but it's there too where the thunderboxes are hidden; that's why we are afraid to look inside,and as soon as we stop being children, we becomeserious, sad and dense beings. Thus, in every true sage,like in some in elders, the child comes back to life again;hence there's no such thing like an unhappy sage,because both are antithetical. If knowledge doesn't givethat treasure to its owner, is because it has not been
properly processed yet, or simply because it is not so.
3
Alfredo Tucci is Managing Director toBUDO INTERNATIONAL PUBLISHING CO.e-mail: [email protected]
https://www.facebook.com/alfredo.tucci.5
Martial Cinema
DRAGON BLADE - Jackie Chan keeping thepeace on the Silk Road!
Text: Emilio AlpansequePhotos: Golden Network Asia,
Lionsgate Premiere
SYNOPSIS
In western China, 48 BC,a group under the Chinesegovernment called the SilkRoad Protection Squadattempts to stop battlesand to promote the idea ofpeace. When corruptRoman leader T iberius(Adrien Brody) arrives tothe area with a giant armyto claim the Silk Road, HuoAn (Jackie Chan) and hisgroup of trained warriorsteams up with an el itelegion of defected Romansoldiers led by GeneralLucius (John Cusack) tomaintain the delicatebalance of power in theregion. To protect hiscountry and his newfriends, Huo An gathers thewarriors of thirty six ethnicnations, such as Chinese,Uighur, and Turkic, togetherto fight T iberius in anincredible epic battle.
ABOUT THE PRODUCTIONLoosely inspired by historical events, DRAGON BLADE isanother milestone in the career of Jackie Chan who stars,produces and directs the action. He has teamed up withHollywood leading man John Cusack and Oscar winnerAdrien Brody to form an intriguing trio of characters in thisaction epic. Seven years in the making, DRAGON BLADE wasfilmed on a record-breaking budget of US$65 million, the taleabout the legend of two powerful forces, set during the era ofChina's Western Han Dynasty and the Roman Empire. Theinternational ensemble of characters creates a globalperspective on peacekeeping and righteousness that has notbeen touched upon in previous Chinese-language films. Thecast and crew traveled great distances - over 3200km -spanning from the Hengdian World Studios in the east, to theDunhuang and Aksai regions of western China. 700 crewmembers of different nationalities worked on set, speakingmore than ten languages including Mandarin, Cantonese,English, Korean, French, German and Russian.For the scenes in the western frontier region - a stop of theactual ancient Silk Road - the desert heat, sweltering sun andconstant sandstorms were great challenges for the crew. Theyfaced at least three large sandstorms, and many minor ones,during the desert shoot, sometimes with visibility limited to 2meters. Sudden surge of temperatures came with thesandstorms with the ground temperature sometimes above 50degrees Celsius. They lost count of the repeated instances ofdamage to the tents and camera equipment. Furthermore, thecast had to endure the unbearable heat wearing heavy armor,
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furs and overcoats with an average shootingday that lasted 14 to 15 hours. Jackie Chansaid that conditions were so unbearable to bebeyond one's imagination.
ABOUT THE CHARACTERSHUO AN (Jackie Chan) is Commander of theSilk Road Protection Squad, the chief militarypost within Han Dynasty China, protecting itsborders from invaders, and the Silk Road fromtribal conflict. He was raised by General HuoQubing who found him after he was abandonedas a child on the battlefield.LUCIUS (John Cusack) was his generation'sfinest warrior who had dedicated his life toserving Rome's wealthiest man, Crassus, theConsul of the Roman Empire. After Crassuswas murdered, Lucius fled with the man'syoungest son, Publius, to protect him from hisfather's assassin. He forms an unlikely alliancewith Huo An.TIBERIUS (Adrien Brody) is the eldest son ofRome's wealthiest man, Crassus. Because hisfather favors his youngest son, Tiberiuspoisoned his brother Publius so as to secure hisinheritance. When Lucius flees with Publius,Tiberius follows them. Huo An exposes Tiberius'plot and challenges him to a one-on-one duel.
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COLD MOON (Lin Peng) is the only daughter of Chief Tache ofthe Huns nation. She is extremely competitive and excels inarchery and martial arts. Having vowed to only marry a man whocan best her, she starts to have feelings for Huo An after losing tohim. When he's in trouble, she leads her nation to his rescue.
ABOUT THE CASTJACKIE CHAN is a man that needs no introduction in the MartialCinema. He would often remain on the set after completing hisown scenes to teach his co-stars action moves, set up tents orsort recyclables. Otherwise, he would sit away from the crewobserving, as if there was a caption above his head reading, “Ireally love this f i lm set”. As an international star, he hasexperienced the benefits and disadvantages of different studiosystems around the world. Chan says that he is trying to devise hisown style of productions. Temperatures were scorching during thefilming of the city wall's construction, and Chan's costume wasespecially heavy. The crew advised him to use a body double foran overhead shot, but he insisted to push the heavy cogwheelstogether with dozens of extras. Chan has been part of the film'skey creative team from concept to the construction of the large-scale props. The prop team jokes that “he did most of the work onset”.JOHN CUSACK is a film veteran who has starred in manyHollywood productions, but the action sequences in DRAGONBLADE were completely new to him. Cusack often “challenges”Jackie Chan off-screen, the two men armed with blades wouldduel during breaks. Chan would give Cusack tips on blade-throwing tricks, such as turning before the throw to create a coolerimage. Cusack prepped for his role with muscle training and by
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practicing martial arts with his personal trainer, thelegendary Benny “The Jet” Urquidez. In this movie, Cusackhad to perform a complicated fight sequence, battlingseveral men from the opposing Roman camp. Cusackrepeated the scene from morning until night. With stamina
and perseverance, he was able to give a powerfulperformance despite being soaked in sweat in thedesert heat.ADRIEN BRODY has a dialogue l ine thatencapsulates the eccentricities of his character, “Ilike people to hate me. Their hatred makes mefeel alive.” Brody is an acclaimed American actorwho has studied performance since childhood,before entering New York's prestigious AmericanAcademy of Dramatic Arts. His role in The Pianistsecured him a Best Actor Oscar in 2003, then theyoungest winner in the category. Brody has beena fan of Chinese martial arts films since he wasyoung. He recalled his memories of weekly tripsto watch Kung Fu films in New York's Chinatownwith his father. The crew assigned him an English-speaking member of the JC Stunt Team as hisassistant Alfred Hsing, from whom Brody learnedmartial arts moves. Brody and Chan may beenemies onscreen but became friends off-screen. LIN PENG began her career by appearing in aJackie Chan film Little Big Soldier (2010). Moviethat was awarded with the People's Choice“Palmera de Oro” at the Mostra de Valencia FilmFestival in 2010, and Lin was there to receive theprice with other Jackie Chan crew members; aswell as present at the BUDO International Hall ofFame awards of the same year. The film DRAGONBLADE was a different experience for Lin playingthe feisty Huns warrior Cold Moon. For her, themost challenging part was the action sequencesand also expressing her character's couragethrough her gaze and body language. “She canreally kick-ass; she's a very strong character. Hergaze should be direct, without hesitation. Shemust be quick-witted and aggressive… herpersonality is really nothing like mine.”
ABOUT THE ACTION SCENESThe JC Stunt Team handled the act ionsequences that are at the center of the film. Afew of the stunt team's members are also in thecast, including Steve Yoo who stars as Huo An'sright-hand-man Cougar. Two teams were filmingsimultaneously, with the second team's actionscenes directed by action choreographer HeJun. Since most of the main cast members didnot have an action background, the team trained
the actors and designed the sequences around them.Chan said, “I prefer to do solid fighting sequences ratherthan wire-work. There is too much wire-work these days.”There were many scenes involving military formationsand battles involving a large number of people over a
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vast area of land. While the Chinese armies make use ofthe “Dao” (saber), the “Jian” (straight sword), as well asarchery and crossbows; there are some attempts to showoff Roman stylized tactics like the “Testudo” (tortoise)formation with the shields, the use of the “Pila” (spear),and the “Gladius” (sword). There are exciting one-on-oneduels, and a particular scene where the Romans andChinese display their martial prowess, designed by Chanhimself, is especially engaging and well-choreographed.He even manages to make his co-stars Cusack and
Brody look very convincing through all the actionssequences.Actress Lin Peng received the most injuries among thecast, including the most serious ones. Her character usestwo weapons, the whip and the bow. Her fingers wereconstantly swollen from drawing the bow every day; the skineven peeled off her index finger. She fell from two metersonto gravel when her wires broke, landed hard on the leftside of her body; fortunately her head was protected byChan. Lin trained with the JC Stunt Team for several months
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before the start of the shoot, practicing how to crack thewhip. She didn't want to hurt Chan in two scenes involvingthe whip, but was also concerned that the lashes didn'tpack enough punch to be convincing on camera.
OUR COMMENTARYDRAGON BLADE is a fantastic achievement in thecurrent world cinema. We never expected to see this kindof Roman epic movie be made in Asia, but Chan hasdemonstrated that it is possible. Were there Roman soldiersin the East? Most historians believe that the two empireshad only indirect contact, but there are several knowninstances of Roman embassies sent to China recorded by anumber of ancient historians from both sides. Those
interested may enquire about the “Lost Legion of Crassus”were 10,000 Roman were allegedly displaced by theParthians to man the Eastern Frontier. Consequentially,tests found that the DNA of some villagers on the fringes ofthe Gobi Desert is around 55% Caucasian, with many ofthem with blue or green eyes, long noses and even fair hair,prompting speculation that they have Roman blood. Butdon't expect a history lesson in this movie, just let theheartwarming story of loyalty, sacrifice, rising against allodds, together with the pulse pounding battle scenesamuse you. Ideal ly posit ioned to capital ize on theaccelerating convergence between the Hollywood andChinese entertainment industries and with more than 100films under his belt, Chan is still remarkably dynamic and itis clear that he isn't slowing down anytime soon.
FIRST WORLD MEETING OF BUDO MASTERS
Dear BUDO lovers, this event wil l be a uniqueopportunity to meet in person masters around the worldand to enrich the culture and brotherhood among arts,styles and persons; a great celebration of innovativeformat, where to share through seminars the endlesstechniques of Martial Arts, and where you will be able toexchange views and meet those persons who write andhave become famous in the pages of our magazine.
Currently published in 7 languages (Spanish, English,Italian, Portuguese, German, French and Chinese) andsoon available in more (confirmed the Turkish edition inNovember), our magazine will support with all its mediapotential, networks and contacts this excellent initiative ofthe respected Master Sifu Paolo Cangelosi.
Students joining a specific group should contact theirMaster for reservations. Those of you who simply want tobe part of the event, whether in the seminars or at the gala
dinner, can make your registration directly. Everyone iswelcome under the banner of respect, martial brotherhoodand cooperation.
The event will be held in two days:
SATURDAY 16 AND SUNDAY 17 APRIL 2016 IN ROME-ITALY
The program will be divided into seminars and a Galaevening.
Details:
SEMINARS:every master is entitled to a few minutes to share his
own techniques; the available time may vary depending onthe number of participating masters.
SCHEDULE OF SEMINARS: SATURDAY APRIL: 16, 10.30 - 13.30 hrs. SUNDAY APRIL; 17, 10.30 - 13.30 hrs. COST OF SEMINARS FOR STUDENTS: 1 dAY €30 E2 days 40 E
Masters to join the initiative of our event should confirmtheir participation stating whether they come alone or withtheir students before the end of November; in a secondstep, before February 28, they should send a list of theirstudents with name, with a deposit of 20 euros perstudent.
The final settlement of the seminar shall be directly madeon the day of the stage.
SATURDAY NIGHT GALA April 16 at 20.30
Aperitif and buffet dinner. During the Gala certificates of participation will be
awarded to all students. Masters will be awarded theCertificate of "Budo Masters Council Director", globallyrecognized and endorsed by the signature of the mostfamous masters of the world.
Students in turn will receive a certificate of attendanceasserting their participation in the meeting and signed byall of us.
A Photocall will be available at all times in the sameplace of the Gala, where photographs will be taken with allboard members, friends, students, etc. Photographicevidence will be published in the Budo Internationalmagazine, at that t ime already translated into 10languages, in an extraordinary article that will largelydescribe the whole event and its participants, highlightingthe presence of each Master.
As Masters confirm their attendance at the Gala, theywill be also included in the advertising pages of the event,both in the magazine and across our network. Someexamples of this advertising are inserted at the end of thisdocument, showing some of the masters from all over theworld, whose assistance has already been confirmed.
PRICE FOR THE GALA NIGHT: 80 E
Since the objective of the meeting is not monetary, butthat of cultivating friendship and cooperation, we haveestablished a very affordable price.
For the GALA night reservations, each master must senda list with the full name and a fee of € 80 per guest beforeFebruary 28, 2016. Participants going on their own canregister directly.
Considering the great participation demand worldwide,please do not delay sending your list, because reservesare limited.
FOR BOOKING PAYMENTS:
Banco Popolare GENOA AG.3 IBAN: IT90 X050 3401 4030 0000 0000 824SWIFT: BAPPIT21Q60
PLEASE SEND YOUR RESERVE LISTS OF THESEMINARS AND THE GALA EVENING TO:
SEMINARS AND THE GALA EVENINGWILL BE HELD AT:
CENTRO SPORTIVO FONTE MERAVIGLIOSA VIA ROBERTO FERRUZZI 110/112 (ZONA EUR) ROMA – ITALY (AMPIO PARCHEGGIO GRATUITO)
HOTEL For overnight stay in Rome, we will be reunited with
convention, at:
HOTEL SHANGRI LA CORSETTI VIALE ALGERIA 141 00144 ROMA (ZONA EUR) ITALY TEL. +39 06 5916441 FAX. +39 06 5413813 email: [email protected]
ACCOMODATION PRICE: SINGLE ROOM € 60 DOUBLE ROOM € 85 BREAKFAST INCLUDED
To book in, please contact the hotel, identifying yourselfas a participant in the convention by using the password:BUDO MASTERS.
We have reserved a limited number of rooms. It isadvisable booking before March 15, 2016 (we would like to
note that, for those arriving late might not be easy to findaccommodation in Rome, since the Jubilee is beingcelebrated on those dates).
For those staying at the Hotel Corsetti, we have madeavailable a Pullman bus that will take our "Budo Masters"group to the place of the seminars and Gala Evening.
Our director Alfredo Tucci has kindly placed himself atthe service of the organization through his personal mail,[email protected], for all non-Italian friendswho might have questions about the event, and he didn'twant to pass up the chance to leave you a few words:
"Dear Budo Brother, it is my pleasure to support thegreat idea of the Master Cangelosi. Many of you know the participants of this meeting
through our pages and are aware about their extraordinarywork as trainers and Masters. Now you have the chance ofmeeting them in person as part of a unique event of itskind, take some pictures with them and access theopportunity to learn from the best, bringing with you home
a great experience as martial artistsand as individuals, together with acertificate signed by all of them, thatcertainly will deck out your personalhistory as budokas. My grandmotherused to say that "everything istransmitted, less beauty"... Then comeand make up part of the greatness!"
Alfredo Tucci Chairman of Budo International
Publishing Co.
Samples of the certificates to bedelivered and on which we keepworking. Of course, names will beadded as participants confirm theirpresence. The first one is thestudents' certification and thesecond is that of the Masters.
Avi Nardia
here are two Japanese words that describe this:'Tatemae': the mask that we present - the fake us and'Honne': the truth - us as we really are.
We can hide the truth to win, but we can't win 'Tokku',meaning the respect of ourselves as we know that we liedand just hid the truth to win, and so you will die as a loser.
Tokku in Japanese: True-Jutsu
Text & Photos: Avi Nardia w/Tim Boehlert
Tokku in Japanese Budo means to win withhonor and integrity.
A win is only for yourself as no one else cansee it, but you will always know that you canhide the truth. Even in Zen it's said that youcan't hide 3 things: the moon, the sun and thetruth. The truth is that humans always hide thetruth. All leaders do it daily, friends do it, evenparents do it with their kids. The truth will popout, but it may be well after the win. With someOlympians we see sports players lie, cheat, andfake to show a win, but truth will find a way outand show as does noon and the sun.
T
For Samurai whom carry the honor code, what's theuse of it if you disrespect yourself and die as a loser witha fake trophy? This is where true-jutsu plays a role in the'go' or code.
In Samurai movies we see how he died by the swordof another samurai, and thanks him for an honorabledeath and in Tokku death carries his integrity to thegrave. It's better to win with honor than to win, but loseTokku.
This is hard for westerners to understand as a win inlife for us means to do anything to win, but the samuraiway is the art of death. He needs to be ready each dayto die, and to die with no respect and honor is the mostshameful loss in life. He would ask to die in honor byseppuku, by blade, and earn Tokku honor death. This iswhy the code forces the budoka to live by the honorcode and Tokku, true-jutsu integrity as one of it'sprinciples.
In kapap we teach to keep the Budo Code. Thewestern lifestyle is to break any of them and lie and liveby that lie, where that win means money, and wheremore money is better than even the price of friendship.Cheating and loss of the Tokku, the truth that you knowinside means a loss of your integrity.
This is why I teach that principles in life are moreimportant than any techniques. Keeping a clean hearth ishard to teach and that's why we teach principles firstand foremost over techniques.
"There are not more than five musical notes, yet thecombinations of these five give rise to more melodiesthan can ever be heard.
There are not more than five primary colors(blue,yellow,red,white and black) yet in combination theproduce more hues than can ever be seen.
There are not more than five cardinal tastes (sour,acrid, salt, sweet and bitter), yet combinations of themyield more flavours than can ever be tasted." Sun Tzu -The Art of War
Avi Nardia
There are not more than fiveprinciples in modern Kapap (push andpull, balance displacement, high andlow, relative position, two points ofcontact) yet combinations of themproduce more techinques than canever been seen!
One is the most common principlein all martial arts, it's done by humansbut to be called human we need tofirst keep the Code. To teach onlytechniques and to build the bodystrong but neglect a weak mind andspirit will never win you Tokku.
The Mind controls the Hand. TheHeart controls the Mind. The Soulcontrols the the Heart and only thenwill you live by BUSHIDO.
In swordsmanship - and most byKendo as my good friend note (MosesBecerra ) - the Bushido way - defeatingyour opponent should not be obtained byruthlessly over powering your opponentor by actions of trickery or anger towardsthem. Winning using these things will onlycreate feelings of anger, revenge andunhappiness, however winning by truevirtue (Toku) is truly winning. Your
opponent will thank you when beingdefeated by you in this fashion and in theend, you will gain the respect from youropponent for these qualities you upholdd≠uring your exchange.
“The sword and the mind (soul)are one. If the mind is right, thesword is right. If the mind is notright, the sword also cannot beright. The person who wishes tostudy the sword must first studytheir mind”.
- Shimada Toranosuke
The WTU (Wing Tsun Universe) is an organization for the harmonious development of the human potential.
For this work we use:
Moving Center: WTU Wing Tsun (inclusive WTU WTU Guild and Health) Thinking center: Thinking Center Courses Wing Tsun University Feeling center: AMA (Arts and Martial Arts)
Mottos of the WTU
-The Mottos are about something like instructions for the use of the tools.-For this reason we have the mottos for each Solo Movement etc.-Solo Movements (forms) are something like formulas, from which we derive using the motto
for us.
WT Universe
In this short column we treat 3 mottos from the WTU:
We move people!
We move people. This means, among other things, webring ingrained patterns in action, moving, thinking andfeeling back into motion. We help to break conditionings.Most people want to change, improve, be free, but theyuse the patterns that they have always used and this is notworking.
The right people at the right time at the right place
To generate effectiveness it requires these 3 basicmeans. It could also be called timing. It is this mottodistinguishes the normal collective groups of effectivecommunities. And not in their impact, but in terms of theeffectiveness of the development of their members.
Necessity creates organs
It takes a crit ical mass "food" so that adevelopment, deployment, learning takes place.Only when I increase the need, I start todevelop the structure, which then opens upto me their function. And this function thenopens me the inherent potentials.
Salve!
WT Universe
“The right people at the right timeat the right place”
To generate effectiveness it requires these 3 basic means. It could also be called timing.
It is this motto distinguishes the normal collectivegroups of effective communities.
And not in their impact, but in terms of the effectiveness
of the development of their members.
Brainwave Study
Prior Kyusho Internationals founding, we had tirelesslydedicated ourselves to proving that Kyusho was not onlyreal, but affected the body as professed through modernmedical and technological science.
We also sought the inner effects of a Kyusho event as tothe exact influence and reflex created at the time if theevent. Initially this study was for martial application, butquickly encompassed healing, fitness and intimacy aspectsas well.
In 2000 Dr. Diane Stoler had approached KyushoInternational founder Evan Pantazi, with the offer to measurebrainwaves during Kyusho applications. Of particularinterest was the controversial knockout potential with itscorrelations and effects on the human body. Several ofthese tests were enacted in various settings with oneinducer and varying recipients to maintain more of aconstant stimulus on the different recipients.
This process recorded in live time, revealed only thefunction of the brain as well as the effect of inducedstimulus on it. With the equipment and technology of thetime, only the brainwaves activity levels, (Alpha, Beta, Theta,Gamma and Delta), could be measured and recorded. Whatwas observed during the testings' was Replication ormirroring of the inducer and recipients brainwaves duringthe event (KO). This mirroring was observed during all testswith all participants.
Some of the findings were expected such as spikes ordeclines in brainwave function during an event, but otherswere quite surprising. And many questions and correlationsdiscovered.
From the information and methods of Kyusho (somelearned and some tested), Dr. Stoler had gone on toimplement several into her highly acclaimed practice;helping those afflicted with Traumatic Brain Injury, PostTraumatic Stress Syndrome (PSTD) and Concussion.
With the major advancements in technology, methodsand understanding, the continued studies have againrevealed many startling and profound new findings,insights and yes even more questions. So we approachedit again with more advanced equipment and more Doctorsand Scientists present. This time with the assistance ofBrainmaster Technologies inc., creators of the Brain
Avatar 3D Nuerofeedback mapping software. Inconjunction with Dr. Diane Stoler author of "Dealing withTraumatic Brain In jur ies" and "Post ConcussionDisorders", Kyusho International investigated the innerconnection of the brain as affected by the application ofKyusho techniques.
The equipment now not only measured the brainwaves,but did so in 3D. The intensities were observed andrecorded as they occurred so that not only what was beingaffected was recorded, but also where, to what levels and inwhat patterns. This was quite a quantum leap from priorsessions and data collection.
Additional direct observation of the individual braintransmissions could be seen and recorded as theyoccurred. What was being triggered, what it in turntriggered, the resulting patterns, speed, directions andintensities were all now observable. As example when anevent occurred, the effects on the brain, intensity,successive affect, triggering and patterns were observed aswas the outer manifestations on the recipient and orinducer.
Some of this testing included striking, manipulations,sound and even energetic applications to record in live time3 Dimensional mapping of the neurological triggering ofboth inducer and recipient for comprehensive measurement.
Both Kyusho practitioners involved had decades ofexperience to reduce error and increase diversity as well asaccuracy in the tested applications. Evan Pantazi (founderof Kyusho International) and Gary Rooks (Chief ResearchOfficer of Kyusho International), were both applicators andrecipients for this new testing. Also non practicingvolunteers were added to the process after initial testingwas concluded.
In addition to applied stimulus, the revival, restoration andre-balancing of the recipients (and inducers), weresimultaneously observed and recorded during each event.This was to gain greater insight, diversity and correlations ofKyusho on the human.
Although too early in the assessment process to confirmor deny results, a few observations were made.
1. First is that it is not hypnosis.2. Yes it is possible to stop an organ.3. Sound does affect the event.4. Prior brainwave findings were validated.
Some of the Kyusho Knockouts we preformeddisplayed a couple of things about thetechniques in this, some cause a rapid drop inblood pressure (as was expected and nowverified), recipients stopped breathing stopand during a couple the heart was evenstopped... yep the Doctor said!
This is a major difference in the myriad ofpeople teaching Kyusho, most Kyusho issuperficial, we l ike to make it moreadvanced so that we know we can stopcertain things physiological functions,organs etc., just as they depicted in theold writings and scrolls. And we do notjust talk about it being possible, weduplicate it... that's experience, nottheory… and our personal mission. Ofcourse it must be mentioned that allsurvived as we do not recklessly workthis way, we understand theramifications, what will be affected,how to restore what has been doneand the control to not escalate eachincident past that point of no return.
This is only a small portion of whatwas observed and again nonethoroughly assessed yet. It of coursewill take time and additional testing toascertain more, (which has already been
discussed will be scheduled), before a more officialrelease of the findings are released.
What is apparent though is that science canobserve the phenomenon and events, measure and
map these events and therefore remove the mythand doubt that it exists. This is paramount as itbrings us closer to making the statements inancient documents not only plausible, but real.
Of course this is also not our onlymethodology for verifying the realities ofKyusho; we have several medical andscientif ic studies and researchsimultaneously and continuously occurring.We also have many Law Enforcement,Military, Security and Civilian (individuals,agents and agencies), worldwide, workingKyusho with great success. Some are assimple as control methods and others moreurgent in a survival type situations, this isfield testing on an international basis withthousands of participants. The days ofdisbelief for Kyusho are finished, now thecurious need only find the instructorsteaching the real Kyusho, not the Dojotricks of it.
Keep watching Budo as we report backwith you on future tests and findings... weare moving toward the future with Kyusho,not just resting on the past. Stick with us;we are on a ride of a lifetime as we uncover
the real secrets!
Our martial arts schools are for the mostpart visited by decent people who never intheir lives found themselves in any combat.How are we supposed to give them acomprehensive understanding of martialarts then, without them havingexperienced any combat or contestsituation? This applies all the more if the
teacher himself never has gathered anysuch experience. Time and again,“Swimming” is taught that way, without hestudent ever actually being exposed to anywater. It remains reduced to dry practice,little beyond mere theory, while it oftengoes unnoticed that true martial artsshould train the practitioner in verydiversif ied areas. As a matter ofcourse, everybody appreciates that as
I hold theopinion thatevery martial
artist worth hissalt should
participate in acompetition, since this
is the only way howcertain important
experiences as martial artistcan be obtained. An inspirationto all of us, the famous BruceLee once said: “If you want tolearn to swim, jump into thewater. On dry land no frame ofmind is ever going to help you.”
Every martial artistshould participate in a competition
Text: Andreas Hoffmann, Christoph Fuß Photos: Andreas Hoffmann, Budo International
a martial artist I have to learn the tools offighting, such as kicking, punching, joint-locking and throwing, and likewise theirapplication within all combat distances,while standing as well as on the floor.Just as comprehensible is the necessityto develop proper timing and an intuitionfor safely controll ing a resistingopponent, who after all uses similartechniques.
Participation in a contest as well asthorough preparation for actual self-defense however requires a lot more:During preparation, the contestant for astart has to decide for a certain type ofcompetition. He has to remain disciplinedand train vigorously for months to ensurethat he will deliver his individual peakperformance on that very day. He has todeal with his nutrition, might have tochange weight, and generally needs toeat a healthier diet in order to trainharder. To compensate for such harshtraining, though, proper recovery isindispensable. Hence it is necessary forhim to develop strategies for de-stressinghimself, also including compensativepractices in the form of stretching,strength-, endurance- and breathingexercises. For good reason, these always
have played a significant role within thetraditional, established martial arts.
On a psychological level, thecompetitor has to develop strategies tocope with his excitement and to motivatehimself, for example by having inspiringpeople around him, by reading inspiringbooks, listening to inspiring music etc. Itis a very important process highlybeneficial beyond preparing himself for acontest to find out what inspires him andkeeps him motivated. This insight will bea tremendous aid in times when he mightstruggle with injuries or (self-) doubt,offering him a possibility to consciouslydecide to follow his inspiration every dayanew. In Kung Fu, this is compared to alotus blossom heading upwards to thelight, growing out of the very mire thatconstitutes the base for its growth.Likewise, the contestant has to learn toaccept and transform his weaknesses,utilizing them for his own evolution.
Consequently, the competitioner andhis teacher have to find out aboutstrengths and weaknesses. Furthermore,they have to adapt their martial art to thespecific ruleset, in a similar fashion asany real combat situation – as well as theproportionality principle in self-defense –
requires adequate adaption to prevailingcircumstances. Common trainingprovides very limited possibilities foracquiring this ability to adapt to specificrulesets and circumstances while at thesame time utilizing the reflexes acquiredthrough martial arts training in the bestpossible way.
On the day of competit ion it wil lbecome apparent whether he has learnedto deal with stress. Moreover, the frameof mind of the participants will also beunveiled to a smaller or greater extent. Itis not seldomly seen at tournaments howcontestants and teachers alike are unableto control themselves, shouting atreferees or speaking disparagingly abouttheir opponents. However, this is exactlywhat competition is all about: To behaverespectfully, bravely and even helpful inspite of stress and excitement. Exactlythat is the essence of the path we wantto follow as martial artists regardless ofstyle, whether we call it Wu Te, Mo Duk,or Bushido.
In such circumstances, the contestant�sactual fighting capabilities also becomequickly evident. Most of the participants ina contest are well-trained and talented,and it does require a very substantial level
of skill to emerge victorious. In view of suchextreme conditions, will he really be able towithstand and control an opponent who is actuallyputting up a fight, and to ultimately defeat him in alikewise controlled manner, according to therules? A contest will reveal whether his martial artactually prepared him properly for fighting, or if itis all merely pie in the sky. Many a fighter ratherwants to avoid that test, for example bypurporting to be able to fight in rule-less fightsonly, since he would usually rely on the verytechniques which usually are forbidden intournaments, such as poking the eyes or pullingthe hair. Especially in Kung Fu, but also in selfdefense-styles, there are quite a lot of such“dreamers” who firmly believe that their particularstyle is the best or most effective, without everhaving proved that statement in a contestsituation. Beginning martial artist might be easilyconvinced of this, but reality often proves themwrong. Only on the tournament mat or in realcombat it becomes clear who is able to stand hisground psychically to begin with, and,furthermore, who has acquired the necessaryphysical skills. Even two minutes of contest oractual self defense require enormous conditionand stamina. I have seen many beginners intournaments who did not even make a singleround, because they lacked condition, were fartoo tense, or psychically all over the place.
Kung Fu
Kung Fu
Another important experience is that of winning, and also thatof losing. Nobody who participates in tournaments can alwayswin. He will also lose at some stage, unless he only faces weakopponents. It is beneficial to analyze exactly why he won orlost, enabling him to improve himself selectively and to adapthis training accordingly. The experience of winning and losinghelps the competitor to remain humble and open-minded, tolearn something new every time, and on the other hand toremain self-confident by realizing the own skills – and that all ofthe others have to deal with the same problems as well.
In Hong Kong it also was common practice to organizetournaments or backyard contests for the students, so calledrooftop fights. I had to contest around ten such rooftop fightsfor the Weng Chun- family in Hong Kong, and to me as a youngman it was a great honor that my masters chose me torepresent Weng Chun. All contests followed the same course ofaction: We met in a Kung Fu- school or indeed in a backyard oron a rooftop, and for a start arranged the rules. Usually therealso was a physician around. Then the fight started and lasteduntil one of the contesters surrendered, or until they wereseparated by the masters. Afterwards we usually went out fordinner and discussed the experiences. There also existed acodex not to speak about the outcome of the fights, and not toabuse them for advertising. That way, I got to knowmany styles, by fighting against strong respectiveopponents. The last Chinese Grandmaster Wai Yanalso arranged many matches in his Kung Fu-academy Dai Duk Lan.
All types of competition are beneficial:In our schools, we offer traditional Chinese Weng Chun Kung
Fu, Tai Chi Chuan, Bagua and Brazilian Jiu Jitsu. There aredifferent types of contests to support everybody in developingtheir martial arts and internalize the way of life of a martial artist.Regarding Kung Fu, we cooperate with the Traditioneller KungFu Verband Deutschland e.V. („Traditional Kung Fu FederationGermany“), and regarding Brazilian Jiu Jitsu, mainly with theIBJJF, since those two federations in our opinion offer the mostorganized events with the best rulesets and the best qualifiedreferees. For Kung Fu, one can participate in full- and semi-contact competitions, push hands, chisao and forms. ForBrazilian Jiu Jitsu, one can compete with or without GI-suit. Thepremium class for all contact sports is freefight, forcing us tocover all aspects of martial arts: Kicking, punching, throwing,joint locking, choking, ground fighting. This entails that theKung Fu- fighter has to learn ground fighting, and the groundfighter has to learn to also deal with punching and kicking.
Within the International Weng Chun Association, weencourage our students to participate in competitions andsupport them therein. For this reason we were able to achievemany successes at national and even international levels.
Kung Fu
Gichin Funakoshi was not only the founder of Karate-Do, the one who systemized it,but he also knew how to imbue this Art with his own sense of life. The techniquesand rudiments of Karate-Do already existed, as is known, when Funakoshi organizedit into a coherent whole; it was the vision and the personal commitment of hischaracter that managed to give strength and a global meaning to a style that hasconsecrated itself as one of the Martial Arts references across the planet. For thisreason, getting to know the conceptualization of Funakoshi’s Karate is not an effortin vain. Surely, these days Karate students know little about the original formulas oftheir Art; perhaps the notion of this article to resuscitate the primordial dictates ofthe Master even strike some as anachronistic, but those who don’t know their pastcan only poorly confront the future.
We analyze the twenty golden rules of the founderof Karate-Do
Funakoshi was a man with a very special personality. To get toknow Funakoshi as an individual, his personality, there’s nothingbetter than to read his autobiography: “Karate-Do My Way”,fortunately translated into almost every language. In it we find asimple man, not an intellectual. A man with a straight and definedmoral doctrine with some principles that define a strong dorsal finfrom which arises a strong character loyal to his convictions.Undoubtedly, it couldn’t have been easy to deal with him in life;however, he was one of those magnetic personalities, a bornleader, who knew how to transmit his message to those aroundhim by making a strong impression. And though the Art that hedefined in its forms and principles is not much like what today weknow as Karate, it is no less sure that its evolution would havebeen impossible without a strong and firm starting point such asthat which the master was able to imprint on the way of theempty hand.For this, it is essential to understand one of the main legacies
compiled in his Dojo Kun; twenty principles that define the formalformulation and attitude that must preside over the practice ofthe Art in order for the student to reach excellence. In the olddays, these principles were recited out loud before each class, alost practice even in the most traditional dojos. Recited like alitany, the students knew them by heart and even withoutunderstanding them; in their practice, their meanings and reasonsfor existing were integrated little by little.The article that we publish today tries to go into the meaning
and hidden reasons behind these twenty points in order tofacil itate to the youngest ones a deeper, more completeunderstanding of the essential origins of their Martial Art and toremember the best, as much in age as in experience, the origin,the fundamentals of our Martial tradition.Funakoshi, a man of few words and of less explanations,
maintained that that which you learn with your body you neverforget, while that which you learn with your head is easy toforget. This is absolutely true, but undoubtedly the Mastercouldn’t have imagined that in the years to come the head wouldwind up serving in too many cases for little more than to put a haton. For this, without refuting the founder, we understand that it isessential to delve into the essences of Karate, analyzing one byone the points and their meanings, an inheritance full of value,now and always, one more gift from the founder to whom weKaratecas always owe respect and gratitude.
We analyze the twenty golden rules of thefounder of Karate-Do
1. Karate-Do begins and ends with the greeting
Gentleness and respect are also demonstrated andacquired with their practice. To greet is to remind ourbody that it must obey some criteria in which respectmust subjugate other impulses that are undoubtedly
activated in the practice (aggression, fear, etc.). Torestrain them is one of the tasks of the Martial Art.
But beyond the courtesy, the Eastern greeting ofdropping the head has a symbolic meaning and even anenergetic one that is not very widespread, or what is thesame, very much forgotten. At nodding the head, as
We analyze the twenty golden rules of the founderof Karate-Do
much in Seiza position as when standing, we unify theprinciples of Heaven and Earth, the principles and theirenergies that penetrate our body through the spine(crown of the head and genitals) like two strong serpents.When in Seiza, the hands must be united at the sametime (not one first and the other after) leaving a triangleformed between the thumbs and index of the handsbetween those that must be placed in front.
Courtesy means restraint in order to re-direct instinct;its repetition is always educative and helps organize thehierarchies. The greeting to the master has this sense.The salute with your adversary re-forms the formal spaceof the combat providing this with limits, reminding us thatthe enemy is within, not outside. The other is only a
mirror, an opportunity to realize this, something in whichour limitations will be seen to be reflected; he is not theone guilty of them.
2. You will notuse Karate-Do without motive
Sun Tzu begins his book on war advising us, “War is amatter of vital importance, the territory of life and deathmustn’t be confronted lightly.” Validating aggression is aphilosophically complex matter. For Funakoshi,aggression is only explained as an act of defense.Unwarranted violence was continuously criticized by theMaster, even opposed to the practice of Ju Kumite (free
Karate-Do
fighting), which his son defended. Even further, Karate istraining of the personality, of the spirit of the student, whotrains his character and his body to reach a state ofalertness and excellence, not to boast about his skills orto demonstrate anything to himself or others.
3. Practice Karate-do with a sense of justice
Reinforcing the previous point, the Master further addsthat the practice of Karate and its use must only serve forjust causes, with impeccable attitudes. At the same time,on this point Funakoshi advises us about those who try touse Karate and its knowledge to serve ignoble causes.For the teachers, the selection of students and theirintentions in learning the Art were one of the principleconcerns and if today the powerful gentleman who is Mr.Money has lowered the standards in a way that only limitsentrance to those who pay, it is good to remember thatwe have an acquired responsibility in the exercise ofteaching the Art.
4. Before knowing others, we must know ourselves
Just as the text that is inscribed on the portal at theOracle of Delphi pronounces, “Know thyself”, Funakoshiestablishes here one of the essential principles of theWay of the Warrior. “Nothing does anything to anyone!”Instead of hiding behind the continuous blaming of othersfor the negative circumstances in our lives, Funakoshiimpels us to look inward, firstly, and in this way assumeresponsibility for our acts. Instead of losing time trying toescape our miseries by pointing to those separate fromus, the master demands rigor in our judgements. Firstlook at yourself, after, at yourself and after that at yourselfagain, and after having looked once more at yourself,consider others.
5. From the technique intuition is born This is a principle that is frequently misinterpreted in
the West. Many understood that it is the technique in andof itself that is important; however, we must begin withthe knowledge that for the Oriental, the value of things isin its form. The cup exists and has usefulness to theextent that it possesses an empty space. The wheel turnsand keeps its structure because it has space between thespokes.
The technique is then “the form” that directs us to thenatural movement, not a tightened girdle that stranglesour fluidity; however, to reach said ability, it is necessary
to train the technique so that in the end our knowledge isbonded with “the natural”. In this way, Funakoshi remindsus that the practice of a correct technical form willconnect us with our essential knowledge, with ourintuit ion, help us flow naturally with the infinitecircumstances.
6. Don’t let the spirit meander
Concentration is, in all Oriental practice, an inescapableprinciple. When the hard training puts enough pressureon the mind, it tends to meander, to detach itself in orderto interrupt the effort. Funakoshi was a man of customsand of solid and ordered principles, one who knew thateverything begins in Yin. To stay in the here and now isessential for the practice of Karate as a way ofconsciousness.
The routine and the repetitions of training are a toughtest for concentration. The student must avoid mentaldispersion and the mechanization of the movement. Onlybeing present within it will the techniques possess theadequate force and intensity; only by being concentrated
We analyze the twenty golden rules of the founderof Karate-Do
on its application can we recharge our systems of forceto finish the training session stronger than when westarted.
7. Failure is born from negligence
For the Master, there are no coincidences, there are no“Buts…”, nor “It’s just that…” With this point the Masterreinforces the previous one, attention and commitmentare essential in the practice. To not adequately attend tothe parts that make up the whole, to do it deficiently,without due attention, or without the necessary effort,leads to failure. Failure is not a disgrace that arbitrarilyfalls from the sky, rather it is always the result of a lack ofattention, not being careful, abandonment, laxity, apathy,or slovenliness. Funakoshi reminds us that we areresponsible for our acts and of their results, in this wayopening the door to the possibility of improvement andgrowth. Evolution exists through precise and continuouserror, for that the warrior gets up every time he falls withthe certainty that if he corrects his error he will be able toreach his objective.
8. Karate-do is only practiced in the Dojo
The “Do Jo” is literally “the place of awakening”. Karatedo is not a practice to hit in the street, its objective is notto make others submit rather to reshape oneself, to wakeup to a reality where the symbolic and the real becomeone thing. Furthermore, with this principle the Masterreminds all of us once more that we mustn’t use ourknowledge inadequately, limiting our practice to thesacred space of the Do Jo.
9. The practice of Karate-do is for life
As a spiritual practice, Karate-do is an Art that forms apart of the nature of the students forever. Apart fromreciting this phrase, the students renewed theircommitment to the Art daily, giving it the adequate spacein their beings. As a practice of long and slow results,Karate requires a lasting commitment in order to reach itsobjectives and open the veil that hides its treasures, andthis is why the Master repeats this principle of acommitment for life.
Karate-Do
10. Deal with problems in the spirit of Karate-do
Once again, we understand through another principlethat Karate Do as an Art transcends the sphere of themerely physical or sportive. Karate is a way of living, away to confront things. When Funakoshi tells us to dealwith problems with the spirit of Karate Do, he reminds usthat we are warriors twenty-four hours a day, not only thetime we are on the tatami. In this way, Karate Do isinterwoven with all the everyday events in the existenceof the neophyte in such a way that the virtues that adornit must be activated in the face of adversity with self-control, responsibil ity, wil l power, respect andcommitment.
11. Karate-do is like boiling water
Water is a re-occurring and essential motif in theJapanese tradition. There are two hundred different termsto say water depending on the state and circumstancesthat surround it. Water is the beginning of life and theessence of its nature, it goes downward, f lows,surrounds, doesn’t oppose.
When Funakoshi cites water en its boiling state, he isspeaking about its wooden state in so far as this makesreference to the five elements, called Go Kyo in Japan.Wood is characterized by being the force of will andboiling water converts itself into the opposite realizationof its nature. Activated in this way, it rises instead ofgoing down in the process of evaporation. This activationof the nature of water is the fire of consciousness thatarises from the effort of the neophyte. For that, thepractitioner must be capable of remaining in a fluid butactive state, always ready to respond to an attack.
12. Don’t nourish the idea of defeating nor that of being defeated
It is this point that has so controversially generated thedebate over whether Karate should or should not bepracticed in competition. In my opinion, the essentialmatter in this arises in the correct attitude of the student.If we put the objective outside, undoubtedly we don’thave it inside. But such a decision is more a state of mindthan a defined act. For the Master, Karate is before allelse an interior way. As a road of overcoming oneself, inKarate, the external achievements cannot be itsfoundation; therefore, the enemy is not outside but inside;as long as we attend to the external we won’t beattending to the real reason that the Art exists, and for
that he reminds us: Be careful! Not that way! So, don’tthrow more wood on the fire!
13. Adapt the attitude of the opponent
One must avoid pre-conceived formulas in life. Beflexible, adapt oneself to the forever changingcircumstance; the Master reminds us that we must adaptto them. The practice of the Art is not an application offormulations but the securing of the necessary resourcesin order to constantly flow beyond our limitations. “Everybull has its fight!” states the bullfighting saying, and forthat, those who try to always use the same techniquefacing distinct opponents will be defeated.
14. The secret of combat resides inthe art of knowing how to direct it
Combat, as Sun Tzu says, is a whole where apparentdisorder reins; however, the expert understands thehidden secrets that are ordering it. Directing is possible inthe middle of apparent chaos always when weunderstand not only that an order exists, but that it canbe directed from the center. Understanding that it is thecenter of the spiral which directs its periphery, as much inspace as in time, is the Master Key that Funakoshiproposes, reminding us that such a thing is possible,telling us to look for those essential rhythms thatdominate all conflicts in order to make ourselves theowners of the rhythm of the opponent so that he dancesto our rhythm.
15. The hands and feet must strike like sables
Here, the Master reinforces the knowledge of spirals asthe most powerful and natural forces and movements.Einstein opened our eyes at comprehending and affirmingthat the shortest distance between two points wouldnever be straight. The very formation of our arms comesin the embryonic period of two spirals that come from thecollision of the Heaven and Earth forces that generate theembryo. In its polarization, which is growth, these forcesdevelop two pairs of spirals of seven turns that generatethe arms and the legs. One is longer, Yin, (the legs) andthe other is shorter, Yang (the arms); its conception andarchitecture make all circular movement easier. TheJapanese sable is curved for this reason, compared tothe majority of Western swords. The understanding of theprinciples in the spiral is deeply inscribed in the popularknowledge in the East and frequently represented in its
We analyze the twenty golden rules of the founderof Karate-Do
“As a spiritual practice,Karate-do is an
Art that forms a part ofthe nature of thestudents forever. Apart from reciting
this phrase, the students renewedtheir commitment to the Art daily,
giving it the adequatespace in their beings.”
Karate-Do
symbols. The master reminds us with this principle thatwe must act in accord with the nature of things and notagainst them, opening with this key the door to aprinciple to which every student must pay attention in hisown learning, a secret to remember beyond what hisMaster teaches him.
16. At crossing the threshold of our home, 10,000 enemies are waiting
Again, we have the principle of continuous attention.Attention must close itself off to entropy and there’snothing better for that than to put oneself to the test, andfor that the Master teachers us his trick. Always be onguard! In this way your attention will remain alert. TheVietnamese used to repeat to themselves, “The one whoawaits the worst never loses the initiative.” But, please,without paranoia!
I don’t know why, but this rule always brings to mind anEastern saying that I love: “If a tiger guards the ravine, tenthousands deer will not pass!”
17. Kamae is the rule for the beginner, later it is possible toadopt a more natural posture
Kamae! To be on guard, attentive, willing, ready toreact. With this affirmation, the Master reminds us thatthe training has grades and evolution. The training is likea funnel through which you pass, stretching your natureand ridding yourself of the unnecessary in order to returnto yourself, but transformed by the experience. It is a wayto return to what is natural, a round trip in which yourluggage can’t be carried, your memories, yourexperiences. I remember on this point a Zen saying:“Before Zen, the mountain is mountain, the valley, valley,the moon, moon. During Zen, the mountain is no longer amountain, nor the valley a valley, nor the moon a moon.After Zen, the mountain returns to being a mountain, thevalley, a valley, and the moon… moon.” Nothing haschanged and yet everything is different!
Once trained, Kamae is an attitude, a key that opens adoor, not the room in which you are trying to enter; it isthe finger that points to the moon, not the moon itself!
18. The kata must be done correctly;however, in real combat their movements will be adapted to the circumstances
As before, he tells us to be flexible but rigorous. TheKata are the base of the “form”, for that it is essential
that in their practice one trains the movements withtechnical perfection. There is no contradiction betweenthis and to fight with movements that do not reproducewhat one executes in the Kata, as some current mastersproclaim. Funakoshi left this point very clear. Oncemore, we must remember the position that Orientalsmaintain with respect to the forms and that wedeveloped in the analysis of the first point of the DojoKun. The intention of Karate Do is not that of creatingextreme fighters, or supermen, rather to develop thespirit and the body of the student through training thatgets the best out them, faci l i tat ing the posit iveeducation and growth of the individual, who can, inaddition, make positive contributions to their respectivesocieties.
19. Three factors must beconsidered: strength, magnitude, and technical level
Facing a partner or facing an opponent, Funakoshireminds us of three factors that we must keep in mind in
We analyze the twenty golden rules of the founderof Karate-Do
evaluating what we have in front of us and ourselves. Thefirst two relate to physical considerations and the third toexperience and knowledge.20. Go deeply into your thinking
Probably back then, as now, Karate students werepeople more of action than of reflection. But aseverything must be seen in its opposite, the Masterfinishes his proposals with a clear allusion to the mentaldevelopment of the neophytes. On this plane of reality, allis mind, or in the words of Carlos Castaneda, the world isa description. It is not in vain, then, to tell all practitionersof Karate Do to develop their skills and knowledge so thatthey can grow as people, understanding the reality thatunderlies appearances, reflecting and meditating tocomplete their learning.
Funakoshi still lives in his proposalIn this analysis we have seen that the Karate Do that its
founder proposes is a transcendent practice to the extentthat it can take us beyond the symbolic, a way that opens
doors and windows to allow us to understand and actjustly, even beyond moral evaluations. A way of interiorgrowth that stems from the exterior with positive results,a formulation of the way of the warrior that has knownhow, in one way or another, to find an echo almostunthinkable in those early days in which the Mastercombined the thousand-year-old warrior tradition with theunderstanding and the initiation formulas from theJapanese tradition in order to reach a formula asuniversal as it is intense, one that has survived, evolvedand transformed thousands of people in the pastdecades.
Although today his principles shown in the Dojo Junremain ignored, they are alive in the spirit that underliesthe diverse practices of the multiple styles,transformations and polarizations of the same initialspiral; a firm starting point that had a name: GichinFunakoshi. So, Oh, Master, with this article we want torenew for you our eternal gratitude and recognition, andnothing better to do it that to think about you when somany students think that you are antiquated. What theydo not know yet is that what is classic is eternal and cannever be antiquated.
Karate-Do
Great Masters
Karate-Do
Ving Tsun
Great Masters
Yip Man Ving Tsun"... One of the GUARDIANS OF TRADITION": Grandmaster
CHAN CHEE MAN
On my trip to Hong Kong I had the great fortune of meeting some excellentMasters, people devoted to the practice and study of the art of Ving Tsun for manyyears with great commitment and dedication. Generally speaking, all I have is wordsof deep gratitude for the treatment I received and the facilities I was given to carryout this series of interviews. But now, where this point is concerned, I must stressout that this month's interview was one of the most important and special onesamong the various I conducted during my trip.Talking about Grandmaster Chan Chee Man is talking about PURE Ving Tsun Kung
Fu. I don’t think it’s an exaggeration to say that GM Chan Chee Man is one of theGuardians of Tradition, like I state in the title of the article. Not surprisingly, he hasbeen one of the few students still alive who studied for a longer time in a direct waywith Grandmaster Yip Man.
Interview: Sifu Salvador Sánchez
This direct training, along with hisclose relationship with some of themost important figures of the systemin Hong Kong, such as Wong ShunLeung, make him an authoritative voiceof Ving Tsun. He is one of the last stu-dents of the first stage of Yip Man'steaching in the "Worker's UnionRestaurant", where the legendarymaster taught with more intensity anddetail. No discussion, Chan Chee Manis indeed one of the GUARDIANS OFTRADITION of the purest Yip Man VingTsun Kung Fu.
fter meeting him, I must outline quite a fewthings that I was pleasantly surprised by.First and foremost, his excellent Ving Tsun.At his 80's, Master Chan Chee Man is stillable to maintain a level of intensity in hispractice at reach of only a few: position,
energetic movements, technical mastery, etc. Secondly,his deep knowledge of the true story of Ving Tsun inHong Kong!
I had the great honor of chatting with him for quitesome time while we walked along the city streets andhe was showing me the places they used to train aswell as and liked to hang out at that time. A memorablestroll full of anecdotes and history that I will neverforget.
He invited us to visit some Ving Tsun schools of hisformer fellow practitioners. When you visit any school ofVing Tsun accompanied by him, you can immediatelyfeel the way that everyone RESPECTS him. He isADMIRED! Admiration and Respect acquired after half alife devoted to the study of Ving Tsun. But above all, theRESPECT he's earned by his way of being: an honestand respectful man completely committed to the VingTsun system and the lineage of Grandmaster Yip Man.
But besides those two points, certainly veryimportant, I must stress out that my feeling afterknowing personally Chan Chee Man was that of havingmet a GOOD MAN, one of those persons that give offKINDNESS AND Generosity. And I think that the entirecommunity of fans of Ving Tsun worldwide should knowabout this BIG ONE amongst the biggest in the recent
Ving Tsun
A
history of Ving Tsun, so that he can occupy the place hedeserves in the lineage of Grandmaster Yip Man.
Chan Chee Man was born in the 30's, in the British colonyof Hong Kong. He lived the invasion of the Japanese duringWorld War II that caused that families like his, who enjoyeda confortable financial situation, ended up sufferingeconomical needs. In this turbulent scenario, young ChanChee Man was lucky enough to work as a clerk at theYMCA organization (one of the largest and oldest NGOs),which allowed him to learn correct English and have amonthly income that would help to pay the expenses ofstudying Ving Tsun. Since his youth he has been a Kung fuenthusiast. Being a highly detailed oriented person in thestudy and practice, allowed him access to the knowledge of
Ving Tsun as taught by Yip Man. Along with some of hisSiHings, like Wong Shun Leung, he had the opportunity totest the effectiveness of the system in front of other stylesduring the Beimo or friendly challenge fights, as well as realencounters on the conflictive streets of Hong Kong in thoseyears.
It is a great honor for me to present to you the interviewwith Grandmaster Chan Chee Man: Pure Yip Man Ving Tsun!
Master Chan Chee Man welcomes us into his home, andthe first thing I should stress is his enthusiasm. He is a manfull of eagerness. He jokes about his age... He claims he'sslowed down a bit his workout rhythm because he is "only80 years old".
Interview
Budo International: Good morning MASTER. Thanks for having us received in yourhome. It is an honor to be here and I want to express my special gratitude to you for yourkindness and all the facilities you have granted to us for this interview.
Sifu Chan Chee Man: No ... Thank you for coming from so far away. It is a joy receivingpeople from Spain, where my pupil Sifu José Ortiz resides, and where we are always treated sowell.
B.I.: Well, in the first place, we would like to know something about your origins in theMartial Arts. When did you start practicing Ving Tsun?
C.C.M.: I started at the age of 17 years. It was a small boy and was an "easy target" forclassmates. So I became interested in Martial Arts. But I did not start practicing Ving Tsun. Myearly years were devoted to the study of other systems of southern China: Hung Gar and,especially, Choi Lee Fut.
I knew about Ving Tsun later, by a friend: William Cheung. In a technical exchange I saw himperform the Siu Lim Tao and I must admit that I didn't find it impressive. So I decided to try a"Bei Mo" and after being defeated easily by William Cheung with such "simple" techniques myinterest in Ving Tsun grew strong, so I made up my mind to train and learn this system.
A few days later, William Cheung accompanied me to the "Worker's Union Restaurant"where Grandmaster Yip Man taught classes and where I studied for years with him and a group
Ving Tsun
of leading Ving Tsun practitioners includingLeung Sheung, Lok Yiu and Tui Sheun Ting,and very especially with the great master WongShun Leung, to whom I had already met beforegoing to Master Yip Man's school.
B.I.: Tell us about those years. What wastraining like?
C.C.M.: The "Restaurant Worker's Union"was in the district of Shan Shui Po, betweenthe streets Wong Chuk and Nam Jai. I livednearby so I used to go to train every day. Wewere a small group of practit ioners, soGrandmaster Yip Man's teaching was directand very detailed. Training was really thorough.I liked to pay close attention to every detail thatYip Man would show us.
I used to arrive earlier. Normally the masterwas sleeping at that time so I used to awakenhim and prepare his tea. It was a way to benefitfrom private lessons and receive preciseinstructions for the practice.
Interview
“… my commitment toYip Man was exactlythat: to teach the
system as it was andthat's what I do.
I also ask the same tomy instructors and
students.Ultimately,
I respect any opinionor tendency,
but it's not for me.I only practice thepure Ving Tsun of
Grandmaster Yip Man.”
Teaching began with Siu Lim Tao.Yip Man divided the form into threesections and emphasized on makingprecise movements, being relaxed andmaintaining a correct posture. I had topractice the first section for a long timewhile Sifu insisted that I shouldperformed Fook, Tan and Wu Saocorrectly to learn the proper use of theelbow and the center line.
Then it was taught the position andthe use of the hip, stressing out theknees, because that's where the power
comes from. Sifu then explained theconcept that every blow should usethe connection of six joints in order tohave a powerful impact. The six jointsare the ankle, the knee, the hip, theshoulder, the elbow and the wrist. Healso taught me to imagine myopponent in front of me and to hit onthe same spot with plenty of power. Helikewise showed me how to punch thesandbag in the same way. Sifuexplained the different types ofpunches, especially the one-inch-
punch, inner punch and outer punch,and how to generate power from theground in the Ma position.
Our daily training included hitting thesandbag, fists in the air (inner andouter fist), Seung Ma (step forward andattack), Toi Ma (step back), Chor Ma(twisting step), kicks, forms, thewooden dummy, Chiu Ying practice(focusing), Choi Ying (staying focused)...
When we practiced with a partner,especially Chi Sao, Sifu wouldn’t letthe students got involved in a madinterchange of punches performed inwhatever mode, and he made sure thatwe all followed the method of VingTsun. I remember Sifu sitting in a chairin a corner watching us. He used tosay: "You just can't hit each other andscare your partner breaking his lip andmaking him bleed. Thus he'll never getto learn Ving Tsun. You are here tolearn Ving Tsun, so you must do it theright way! If you come to practice VingTsun, you must hit the Ving Tsun way.Otherwise you need not come to me,you can stay home and train there".
I also paid a specific attention to theexplanations of my SiHings (elderbrothers in the art). Many of them havealready died, but they always helpedme to learn a lot, especially WongShun Leung. With him and his firststudent, Wu Chun Nam, we spenthours and hours practicing Chi Saoand Da Lat Sao (Free Fighting). Weended up arguing almost always. Weloved to try among us, but sometimeswe also fought with others on the "BeiMo" (challenges). Besides, as I was thesmallest in size many wanted to fightme... (Laughs).
At night, after training, sometimes Iaccompanied Yip Man to the "ThreePrince Temple", where Sifu used to goto pray after the class, and at othertimes we'd have tea with other SiHings/ SiDais. That fraternal atmosphere,where Sifu was more relaxed, was a
Ving Tsun
good opportunity to learn theoretical aspects about VingTsun.
B.I.: In what has Ving Tsun changed? Or, askedanother way... Why are there so many differencesbetween the Hong Kong Ving Tsun and that of Europe orUSA?
C.C.M.: Well ... that's normal. There are differentinterpretations and viewpoints. But that's not bad. What isreally important is that the principles are respected. If youstop using concepts like staying relaxed, positions,movements and focusing towards the center line, thenyou've stopped doing Ving Tsun... But if these aremaintained, there may be differences, but that's not reallyimportant. I understand. ALTHOUGH I prefer to keep doingthe Ving Tsun such as I learned from my Master Yip Man,unchanged.
B.I.: Have you ever introduced any change orevolution to the system?
C.C.M.: No. NONE. Why should I change something thatis fine and works? (Laughs ...)
B.I.: Then I can imagine your answer if I ask you aboutthe evolutions of Chinese classical systems and theemergence of Mixed Martial Arts (MMA) in the currentscenario. What do you think about all this?
C.C.M.: I think it is okay! Simply it's not for me. Ipractice Ving Tsun as a classic Kung Fu system; I do itand teach it as I learned from my Master, without changes.I understand that times change, but my commitment to YipMan was exactly that: to teach the system as it was andthat's what I do. I also ask the same to my instructors andstudents.
Ultimately, I respect any opinion or tendency, but it's notfor me. I only practice the pure Ving Tsun of GrandmasterYip Man.
B.I.: Do you have more schools outside Hong Kong?In Europe or other continents?
C.C.M.: No. Currently only Sifu José Ortiz, inSpain.
B.I.: Tell us about your way of teaching. Imean ... As you know there are Masterswho focus their practice on health, othersdo it in self-defense, and still others inmore traditional aspects ... In whatfocuses his training GrandmasterChan Chee Man?
C.C.M.: In all that ... I mean. VingTsun is very good for health. Itkeeps you flexible and dynamicand that's good. And if you'rehealthy you can practice longer.Maybe when you're older youcannot practice with the strength
Ving Tsun
“Yip Man was a person wholiked to laugh and joke. He used to give us
nickname and sometimeswhen we walked
down the street with himhe'd attack us with surprise
blows as a joke, laughing heartily if
we didn't react on time.”
you had when you were young, but you can still keep practicingChi Sao and forms at a good level. So everything is important. Onthe other hand, as I said, for me it is important to honor yourmasters and elder siblings. It is my commitment to the "family".And that is what I continue to do with just "80" years ... (Laughs)
At a technical level it is important to look after the details, thesmall details!! Master Yip Man used to teach students who paidattention to details and were constant.
Properly practiced, Ving Tsun is a very effective style in real fight.I like it because it's simple, practical and straight. Simple doesn'tnecessarily mean easy. If you want to reach a good level and greatskill, you must spend a long time training and working hard to getit. It is also a very appropriate style for weaker people, once youknow how to relax properly, not following the hands, etc.
B.I.: Any advice to the Ving Tsun fans who will read thisinterview?
C.C.M.: In Ving Tsun, position (Yee Chi Kim Yeung Ma) is veryimportant. Pay close attention to it. If the position is good,everything else will improve. We'll manage to get relaxed and thuswe will be able to move as needed. Yip Man constantly correctedthis detail. The position allows us to "take the strength of theground" and, it's clear ... the strength of the ground is UNLIMITED!!(Laughs)
Of course there are other important elements in practice, buteverything must begin with a correct position. Without it, simplyTHERE'S NO VING TSUN!!
I usually tell an anecdote that Yip Man always told us ... "Do notenter a combat (by the Bei Mo), but if you have to do it and youwant to succeed you need two very important elements: 1) a firmand correct structure, and, 2) have no fear of being hit. With thosetwo elements and that combative "spirit" you will be very hard tobeat."
B.I.: In your opinion, Da Lat Sao (Combat) should be animportant part of the training? I'm asking you this becausemany people probably think that Ving Tsun is increasinglymoving away from the realism in combat.
C.C.M.: It is an important part, but not the only one. PracticingDa Lat Sao alone is not good, because the practice of free fightingshould be done only occasionally. Practicing the techniques andideas in detail will make us better in Da Lat Sao. So it is best topractice from time to time instead of focusing exclusively on this.
In the early years of practice in the "Restaurant", Yip Man wasvery insistent in techniques and details. And he did so because forhim, technique was the real engine of the system. I also believethat the details will help us achieve all abilities.
When we practiced Da Lat Sao, one of the training partnersacted as if he was from another style, while the other used Ving
Ving Tsun
Tsun. As you know, Ving Tsun rarely moves the position or Ma (we don't shiftmuch), while in a fight, we can find an opponent who is extremely strong, hits very
fast or enters too quickly. In this situation we have to use Chiu Ying and steps inorder to trap the opponent.
B.I.: Any anecdote from your years with Grandmaster Yip Man?C.C.M.: Well, let me think... Yeah, I’ll tell you one. As I said at the beginning, I
went to learn Ving Tsun from the hand of my friend William Cheung. I beganto practice without knowing the name of his instructor. Out of the
school, everyone was talking about Grandmaster Yip Man and hisexcellent ability as a fighter. Several weeks after starting to practice
Ving Tsun in the Worker's Union Restaurant, one day I askedsome colleagues when would I see Yip Man... My Shihing
William Cheung looked at me and laughed. Mockingly he said,"Yip Man is our master, you stupid!"
As I didn't believe him, I went to the master and asked himdirectly if he was really Yip Man. The master looked at mesmiling and didn't say anything.
Yip Man was a person who liked to laugh and joke. Heused to give us nickname and sometimes when we walked
down the street with him he'd attack us with surprise blows as ajoke, laughing heartily if we didn't react on time.
B.I.: I want to thank you for having received us in your houseand for answering our questions. It has been an immense
pleasure to listen to you and receive this real MASTER CLASSof Ving Tsun.
I hope to see you in Spain many times. If you would allowme, I will attend your course in Spain to try to learn as much
as I can. For me it is a great honor to be here and listen toyou. Thanks from my heart.
C.C.M.: Don't mention it. Welcome to Hong Kong! I hope youhave a good time during your stay here and I look forward tosee you in my course in Spain
ACKNOWLEDGEMENT:When we organized the trip to Hong Kong, we told our
plans to Sifu José Ortiz (Barcelona), director of the Ving TsunKung Fu Association, with whom we have an excellentrelationship, and asked him about the possibil ity ofinterviewing Sifu Chan Chee Man, taking advantage of thetrip. As always, Sifu José Ortiz offered us his help andarranged everything for the meeting and the interview. Iwant to thank José from here all help and support he gaveus. Without him it would not have been possible. I feeldeeply grateful in every respect to Sifu José Ortiz and theAVTK (Association of Ving Tsun Kung Fu), which is also avery important part of the WingTsun Department of theSpanish Wrestling Federation, in which we try to unite allVing Tsun schools in our country.
Also, after my trip to Hong Kong I have attendedsome Classic Ving Tsun classes taught by José Ortizand I recognize his enormous value as a master andas a person.
So I want to thank him and Judy Chan(Grandmaster Chan Chee Man's daughter) for alltheir warmth and help that allowed me to carry outthis interview. THANK YOU!!
“You come hereto learn Ving Tsun,
so you must doit the right way!If you come to
practice Ving Tsun,
you must hit theway Ving Tsundoes. Otherwiseyou need not cometo me, you can stay
home and trainthere.”
Yin Yang
The “Yin and Yang” symbol orto be more precise the “Tao”is probably the most popularsymbol in the global martialarts scene. Also outside of itmany people know it and many
are able to give some meaningto it. But only few people reallyunderstand what this symbol
actually is about and what theory it isattached to.
Kung Fu
here probably comes a point in every martial artist’s lifeat which he deals with the symbol. Some may do so a bitmore extensively than others. The fascination with thesymbol is understandable as everybody has seen itbefore and many people have something to say about it.But only few people seem to really understand it. By
means of this article I am striving to fathom the deeper meaning ofthe “Tao” symbol so that more martial artists worldwide understandit and gain insight into the philosophical education of the KUNG FUSCHULE MARTIN SEWER.
I have just mentioned one of the most important things one has toknow about this matter: it is a symbol. That means it isrepresentative of something, a thing, an idea. Or in this case of aspecific theory of a world view. Strictly speaking, it is for exampleirrelevant whether the colours of the symbol are black and white.They might as well be red and blue. A friend of mine, who is not somuch involved with the martial arts, once made this statement withregard to the “Tao”: “It means that in all good things there is amodicum of the bad and in all bad things there is a modicum of thegood.”, and mainly referred to the two dots in the symbol. Onecertainly cannot say that my friend was completely wrong with thisstatement. However, thereby he did not get to the heart of thematter. I would like to tell you how I explained it to him. Similar tohow my teacher explained it to me once (or to put it more precisely,how he hinted at it in his own way):
The Yin and Yang theory in principle is basedon three pillars:
1. The interdependence and polarity of Yin and Yang2. The infinite divisibility of Yin and Yang3. The transformation of Yin and Yang
1. Yin and Yang are interdependent of each other, i.e. there is noYin without Yang and vice versa. Only through the existence of onepart can the other exist. So as there would be no night without theday or no shadow without light. One may already notice: Something,an arbitrary thing, thus, cannot stand for Yin or Yang on its own.Only in comparison to another thing can something represent theaspect of Yin or Yang in relation to the other. The “Yin” or “Yang”status of a thing, therefore, is always relative and by no meansabsolute. This status only exists due to a comparison. Thus, incomparison to white, grey has the status of Yin and white the one ofYang. But in comparison to black, grey takes the status of Yang andblack the one of Yin. The ability to attribute the characteristics of athing to Yin or Yang in comparison or in relation requires anunderstanding of what it stands for. The old masters often used theexample of fire and water. One could describe it more accurately asfollows: the typical traits of Yin could be: cold, downward direction,dark, passivity, softness etc whereas the typical traits of Yang couldbe: heat, upward direction, light, activity, hardness etc.
2. Everything, to which one applies the theory of Yin and Yang,therefore has to be seen in terms of relations or comparisons. The
T
second pillar teaches us that these relations can be infinitelydivided anew and that the comparison between different thingscan be split into endless detail or endless dimensions. The hand(up) is compared to the foot (down) Yang; but the palm (inward) isYin in comparison to the back of the hand (outward), and thefingertips of the back of the hand (front) are Yang in comparison tothe ball of the hand (back). In this way every Yin aspect of a thingcan again, in relation to something else, be divided into a new Yinand Yang context. And both new Yin and Yang aspects can in turnbe divided into a new context and so on and so forth.
3. Yin and Yang are continuously changing. Nothing is absoluteand stays like it is for ever. Think about it for a moment; has therebeen something in your life that has never ever changed or isnever going to change, realistically speaking. The answer is:Nothing has. Everything is constantly changing. As we have seen,there is no Yin without Yang and no Yang without Yin. The thirdpillar thus teaches us that someday in the process of change, atsome point, Yin turns into Yang again. After summer comes winterand after winter comes summer again. Thus, in every Yin there is aseed of Yang and in every Yang there is a seed of Yin. Just likethere is a sunny day in winter and a rainy, grey day in summer.Thus, my friend was not entirely wrong with his statement. Yangsomeday transforms into Yin and Yin eventually into Yang.
Can you perhaps already see in what way this can actually beconnected to the martial arts? For example the fact that you canward off a hard, inflexible attack (Yang) with a soft, flexiblemovement (Yin)? Or the fact that you can throw your opponent off-balance by firstly leading him or her force to the left (Yang) andthen to the right (Yin). Do not worry, even if uniting theory andpractice may take some time, now I can already say:Congratulations! You have read and understood the three pillarsabout the Yin and Yang theory and now you know. But caution: Isaid you “know”. I did not say that you comprehend or get to thebottom of it. So what I am trying to say is that something ascomplex as this theory or like many other ones, which are taughtin my school, partly take a whole life in order to be reallycomprehended in their depths and thus to be also perfectlyimplemented. I am already looking forward to any questions in thisdirection. And let’s be honest; we, as martial artists, derive ourmotivation from knowing that we have never stopped learning inthese matters. That is what attracts and drives us. So that we maybecome better and better.
“I did not say that youcomprehend or get tothe bottom of it. So
what I am trying to sayis that something ascomplex as this theoryor like many other ones,which are taught in my
school”
Budo International: What and Who is Keysi?Justo Diéguez, Keysi.: Keysi is the Spanish Art created and developed by
Justo Diéguez with a single purpose: Personal Growth. Body mechanics, thebasis of movements, in the Keysi Concepts and Principles follow universal lawsthat are not limited by any system or style; Keysi develops the Body, the Mindand the emotional state, fusing them in a whole and in a unique principle, thedevelopment of values ??providing students with the necessary physical,mental and emotional Tools and Attributes.
What differentiate notably the Keysi method from any Martial Art are itsPrinciples, which teach us and give us the capacity of Self Expression and SelfRealization; perseverance and training is the process of development,evaluation and adaptation in Keysi, goals that must be achieved within therange of qualities of each practitioner.
This is the adaptation of the art to the person, not of the person to the art thatprovides a higher and instinctive structuring attitude in a dangerous situation, acapacity for analysis and appreciation of the environment and how to use it toyour advantage. This results in an emphasis far superior in controlling the forceapplied on an attacker, whether armed or empty handed.
Keysi
What and Who is Keysi
B.I.: Is Keysi a mixture of martial arts?J.D.K.: Keysi is not the art of arts or a mixture of
techniques extracted from different styles. Neitheris it a theoretical explanation of many differentmartial arts. On the contrary, it's a perfectly plannedand defined work of concepts and principles as theresult of a long and rigorous introspection.
It's a way - a philosophy of l i fe based onknowledge, research and experimentation for thegrowth of the person, with the physical expressionand Technique as a transport and a consequence:Self Defense.
B.I.: Why do you call it method?J.D.K.: Keysi is the revolutionary challenge in the
world of classical and systematic Martial Arts, thatprovides the practitioner with the necessary tools inevery area of combat and its development throughthe scenarios, and emphasizes control of the 360º
area where one or more adversaries may beinvolved; in the development and application oftechniques, it gives us a high instinctive survivalattitude in an extreme situation; this predatorphysical expression ability develops an explosiveaction / reaction response in the applications; andthe key, that is, what is most important, is theemotional state of the practitioner, who has theability to analyze a risk situation and is able to staycalm and control the use of force.
Us humans are the dominant species because ofour ability to adapt and evolve and we mustcontinue to evolve and grow; this process is theresult of our instinct as a species; the goal in theKeysi method is that of maintaining a constant andactive attitude in the field of apprenticeship; this aplace without boundaries, where our emotionalstate, through our mind, can express its creativity inphysical form.
Keysi
“The goal in the Keysi method is that of maintaininga constant and active attitude in the field of
apprenticeship.”
Keysi by keysiworld SL Tel 0034-605-831-905 Email [email protected]
Keysi
B.I.: Objectives in Keysi...J.D.K.: The objectives are to overcome ourselves, to
conquer ourselves, not with the aim of controlling ouremotions since this is impossible, but we canrecognize them, and for that we must first recognizeourselves; we need to develop a code of honor for usin the search of our self. These are the "principles" ofour method that, properly trained and correctlyapplied, offer us unique benefits.
B.I.: What is most important in your teaching?J.D.K.: The most important thing we teach is having
a Purpose, where the student learns to discover his orher Physical, Mental and Emotional limits.
• In the Physical limits you discover the strengthsand weaknesses,
• In the Mental and Emotional limits, you will movefrom believing that you are limited to discovering thatyour potential is unlimited.
“In the Physical limitsyou discover thestrengths andweaknesses.
In the Mental andEmotional limits, you will move from
believing that you arelimited to discoveringthat your potential is
unlimited.”
B.I.: A Proposal...J.D.K.: Keysi by Justo Diéguez is basically a
dream so powerful that it can affect the lives ofmany people; although extreme and radical, it'snonetheless a non-violent method which issuitable for everybody, men, women andchildren alike, without age limitations.
My proposal is aimed at all those of you whohave chosen to become Keysi instructors. Youhave begun the journey in your education, nowyou need to protect your formation with honorand respect, because an instructor has in hishands the power of transmission; for this youmust be ready to go deep within yourselves andbe willing to make it happen; it won't be thewords what will bring it into being, only throughhard work you'll achieve your goal, and theconsequence will be to obtain the best result ineach of your students; if Keysi changed yourperspective on life, now you have in your handsthe possibility of changing the lives of others.
This is a proposal that goes beyond dreams,because to make a dream come true, we mustwake up, get to work and be sure that we willsucceed.
“What differentiatenotably the Keysimethod from anyMartial Art are its
Principles.”
Keysi
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...
IPC - New social link for Law Enforcement Units
Many of you already knowCaptain Jacques Levinet,international expert and founder ofvarious self-defense disciplines forcivilians (Self Pro Krav, DefenseBaton, Defense Cane) as well asseveral police operational trainingmethods (Real Operating Systemor ROS, Operational Tonfa or OT,Operational Baton or OB,Protection and InterventionOperational Technical Gestures orPIOTG).
Text: Jacques LevinetPhotos: Edith Levinet
Police
His pilgrimage around the world within police, military and SWAT units (UnitedStates, Russia, Australia, Canada, South America and Europe) allowed him to get intouch with the world's leading experts on security. From his personal experiencesemerged the idea of ??establishing a bridgehead and bring together the securityforces throughout the world in the form of a global structure that he named as IPCor International Police Confederation. This initiative has been well received worldwideand several countries have already joined the IPC. We wanted to learn more aboutthis creation.
Professional Self-defense
Police
Professional Self-defense
Budo International: Could youdescribe to us what is IPC?Captain Jacques Levinet: The
International Police Confederation (IPC) isreserved exclusively for members of thesecurity forces, whether active or retired(police, army, customs, prison, officialsecurity forces). The organization is a linkbetween different police units so as toexchange practical and operationaltechniques, experience and cooperationamong members of the security forces,experts and organizations worldwide. Thisstructure is headed by a group ofrenowned professional instructors,including Captain Jacques Levinet,international expert and founder of theIPC. Belonging to the IPC, subject toconditions, opens up the wide range ofrights to participate in internationaltraining courses, seminars, meetings,conventions, recognitions andprofessional information. No politics andno religion in the CPI.
B.I.: Please, tell us about the structureof the IPC...
C.J.L.: The organization is built arounda central office consisting of a President,two Vice Presidents and a SecretaryGeneral, as well as an IPC Director and arepresentative for each countryconcerned. For membership in the IPC,you must imperatively belong to thesecurity forces (police, army, customs,prison staff, and state official securitybodies). A detailed and documentedrequest must be sent to the IPCheadquarters, which decides theacceptance or rejection on the basis ofthe candidate's seriousness andcredibility. The amount of the annual fee is50 €. In addition to France, which countson several representatives, othercountries have already joined the ranks ofthe IPC in Europe, USA, South Americaand Asia.
B.I.: What are the objectives of the IPC?C.J.L.: Our aim is to exchange the different professional
experiences of each of our members, based on their workand according to their country. The laws are not the same,especially concerning self-defense, in Europe andelsewhere. For example, the use of service weapons isdifferent, according to the security forces units and theirown ethical and legal use criteria. It is good to know, at thetime of globalization, the way that the different lawenforcement forces work on the ground. The IPC plans toestablish exchanges in legal matters, without any
controversy (knowing the rights and duties of each of ourmembers in the performance of its functions), in theexperience of managing violence, in the formation (bothbasic and permanent) and training methods for thedifferent law actors in their application on the spot. Ourgoal has no political or economic purpose and onlypretends to get to know each other among the differentbrotherhoods that form the law enforcement forces. Auniversal acknowledgement without any chauvinism or apriori.
Police
B.I.: What will be the means of action of the IPC?C.J.L.: The universal English language will be our
common vehicle for our media. The IPC will hold regularmeetings with the managers and directors of eachrespective country so that the first step will be to knoweach other better and define common actions with respectto the same goals. Courses and seminars will also beorganized to share knowledge from stakeholders, on the
basis of their personal experience and professionalism.Exchanges of information, always marked by ethics, will beheld respecting the professional secrecy inherent to anyunit. For this we already have a website online with theplaceholder and a Facebook social link. Videos are alreadyin operation in social links as YouTube or Daily Motion.Common regular courses will also be on the agenda of thedifferent countries that make up the IPC. This should help
Police
to make known the different trainingmethods. Likewise, pedagogicalmeans common to IPC will be alsostablished to give a performanceidentity and a tag to the IPC.Diplomas and IPC graduationcertificates shall be awarded afterevaluation of the knowledge and
experience of each of the applicantsand not necessari ly without anyverif ication. In short, individualmembers of the IPC wil l be alsoactors and stakeholders, on the basison their personal achievements, andnot just inactive members claimingthey belong to the IPC. An interaction
is needed to give credibility to ourstructure and make it more real.Knowledge is shared and cannotbe decreed
B.I.: What awards has the IPC?C.J.L.: The IPC is already based
on the credit granted to it by theInternational Federation of SelfDefense and Police Training ALJ(Jacques Levinet Academy), whichis already established in manyFrance regions, in departmentsand clubs as well as in severalEuropean countries and othercontinents. To ensure a betterstudy of the concerned officialauthorities, every Director of theIPC it will be accredited by a letterof recognition of his functionswithin our organization. Then weintend to sign associationagreements and mutual recognitionwith other existing structures orfederations in the countriesaffiliated to the IPC. The IPC creditalso implies acceptance of theeducational components of themember countries. In other words,training methods taught and usedby the representatives of the IPC,will be studied as appropriate,recognized and endorsed withinour organization. Our goal is notbeing sectarian or not recognizingthis or that family of methods, butto remain open in accordance withthe methods chosen by our
different foreign partners. Forexample, with respect to France, theReal Operational System or ROS,which has been already proved withspecial units and general services,has been approved by the IPC, but itwon't be the only one, since we don'tbelieve ourselves to be in possessionof the truth. This opening will allow usto improve and better acceptdifferences without proselytizing. Infact, we do not want an IPC methodbut a set of knowledge, with respectto its intrinsic identity.
B.I.: Which are the projects of theIPC?C.J.L.: Getting an international
recognition worthy of the name issubject to the credit we want toobtain from the different countriesinvolved. This cannot be foreseen butthrough a serious work of ourmembers and the tag of the IPC. Allthese reasons push us to project anannual international meeting, underthe form of a common trainingseminar, and at the same time apolice conference with the attendanceof quality participants, about therespective problems of action andreaction in law enforcement. Suchevents should enable us to strengthenthe ties that bind us to theInternational Police Confederation.Finally, an IPC membership certificateis available to allow each of ourmembers to identify himself betterwith his interlocutors.
So we wish good luck and successto the IPC.
For further information:http://www.International-Police-
Confederation.comTel .: 00.33.467.075.044
Professional Self-defense
The KMRED concept and especially the KMRED Pro TrainingSolutions method, is intended to prepare professionals toadapt to complex and evolving situations.
A specific technical module has been designed for closeprotection and its contents has been integrated as an officialmethod for the formation of a major training company inprivate security, ESF (Europe Security Formation), one of themain partners of the group KMRED in this area.
The KMRED group has a trainingbranch for Private Securityprofessionals, Police forces
and the Army.
The "Law Enforcement" module has beenused for several years for many
professional units in France and abroad.
The peculiarity of the KRAV MAGA R.E.D.system is to propose solutions that fit.
The KMRED concept is conceived by 'Bases' and 'Principles' and not technique
by technique.
The 'Pro' method differs from the management of aconflict situation in the "self-defense" module, mainlydue to the fact that the intervention procedures are
carried out "normally", with a minimum of twoofficers, and achieving the 'control' of the individual
is the most important.
Most of the Close Combat systems that currently exist for professionalsare methods designed to deal with "Cooperating" or "Semi-Cooperating"
people, and hardly propose anything positive to confront people who havea sharp sense of combat and adapt to any situation.
Most of the body-to-body combat systems currently existing forprofessionals are methods designed to deal with "Cooperating" or "Semi-Cooperating" people, and hardly propose anything positive to confrontpeople who have a sharp sense of combat and adapt to any situation.
