martial arts magazine budo international 312 may 2 fortnight 2016
DESCRIPTION
Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue. 312 May 2 fortnight - Year XXVTRANSCRIPT
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.: • DVD/SERAK-2REF.: • DVD/SERAK-2
The Pukulan Pencak Silat Serak is a system based onboth weapons and empty hands at the same time. Itincorporates many of the new-generation weapons,swords, knives, circular kerambits, bars, batons of
different lengths and other more particularweapons. Even in our empty hand
training methods we face anopponent who attacks us with
weapons in both hands, aswell as several opponents atonce. This type of trainingmakes us more aware ofeverything that happensduring an altercationand what do and not dowhen facing one ormore armedaggressors. In thissecond DVD, MahaGuru HoracioRodrigues, heir to thelineage of Pendekar Pak
Victor De Thouars, ofPukulan Pencak Silat Serak,
addresses its particular wayto train and use the different
weapons, laying the foundationsfor more advanced future plans of
study and the application of technique.This video includes the principles of work,
angulation, Sambuts, Jurus and drills with the shortsword "Pedang", short knife "Pissau", short stick"Tonkat Matjan", Sarong, and applications of self-defense with empty hands.
Budo international.comORDERS:
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êÉÑäÉÅíáçå=çå=ÉíÉêå~ä=ã~ííÉêëI=f=Çç=åçí=éêÉíÉåÇ=íç=éçåíáÑáÅ~JíÉI= çê= íÉää= íÜÉ= ä~ëí= ïçêÇX= åçåÉíÜÉäÉëë= áå= ~= ïçêäÇ= áå= ïÜáÅÜêÉÑäÉÅíáçå=áë=íÜêÉ~íÉåÉÇ=ïáíÜ=ÉñíáåÅíáçåI=f=ÜçéÉ=íÜÉëÉ=íáíÜÉëçÑ=ïáëÇçã=Å~å=ëÉêîÉ=ëç=íÜ~í=íÜçëÉ=ïÜçÉîÉê=áí=ã~ó=ÅçåÅÉêåIÅ~å=êÉ~Ç=íÜÉãI=áÑ=åÉÅÉëë~êó=ìëÉ=íÜÉã=~åÇI=ïÜó=åçíI=ã~âÉíÜÉã=íÜÉáê=çïåK
Personal evolution
mÉêëçå~ä= Éîçäìíáçå= áë= ëìÅÜ=~=ÖêÉ~í=ãóëíÉêó>=tÉ=ÅÜ~åÖÉÉîÉêóíÜáåÖ=ïáíÜçìí=ÅÜ~åÖáåÖ=çìê=ÉëëÉåÅÉI=ÄÉÅ~ìëÉ=ïÜ~í=ïÉêÉ~ääó=ÅÜ~åÖÉI=áå=ÉëëÉåÅÉI=áë=çåäó=íÜÉ=ÑáííáåÖK=_ìí=íáåó=ÅÜ~åJÖÉë=áå=íÜÉ=ÅÉåíÉê=ãÉ~å=ÜìÖÉ=ÅÜ~åÖÉë=áå=íÜÉ=éÉêáéÜÉêó=EíÜÉ~êÅÜÉê=~áãáåÖFX=ãáåÇI=Éãçíáçå=~åÇ=ÉëéÉÅá~ääó=íÜÉ=ëéáêáíX=íÜÉãçêÉ=áå=íÜÉ=ÅÉåíÉê=E~åÇ=íÜÉ=ãçêÉ=ïÉ=~êÉ=áÇÉåíáÑáÉÇ=ïáíÜ=íÜÉêÉ~ä=ÅÉåíÉêFI=íÜÉ=ÖêÉ~íÉê=íÜÉ=ÉÑÑÉÅíKqÜÉ=ÉëëÉåíá~ä=ã~ëë=çÑ=çìê=éÉêëçå~äáíó=ã~êâë=íÜÉ=ÇáÑÑÉJ
êÉåíá~ä=çÑ=íê~åëÑçêã~íáçåX=íÜÉ=ÖêÉ~íÉê=íÜÉ=ã~ëëI=íÜÉ=ÖêÉ~JíÉê=íÜÉ=ÅÜ~åÖÉ=EíÜÉ=Äçï=íÉåëáçå=FK=pç=ïÉ=ïÜç=~êÉ=?áåíÉåJëÉ= Äó= ÄáêíÜ?I= ïÉ= êçí~íÉ= ~éé~êÉåíäó= ãáääáãÉíÉêë= ~åÇ= íÜÉïçêäÇ=íêÉãÄäÉë=EÑçê=ÄÉííÉê=çê=ïçêëÉFI=ÜÉåÅÉ=íÜÉ=áãéçêí~åJÅÉ= ~åÇ= áåÅêÉ~ëáåÖ= êÉëéçåëáÄáäáíó= çÑ= ëçÄêáÉíóI= íÉãéÉêIêÉÑäÉÅíáçå= KKK= ~åÇI= ~í= íÜÉ= ë~ãÉ= íáãÉI= åçíÜáåÖ= ã~ííÉêë= KKKÄÉÅ~ìëÉ=ïÉ=~êÉ=åçí=êÉëéçåëáÄäÉ=Ñçê=Ü~îáåÖ=~=ÅêáíáÅ~ä=ã~ëëKKK=áí=çåäó=ã~ííÉêë=ïÜ~í=ïÉ=Çç=ïáíÜ=áíI=ÄÉÅ~ìëÉ=ïÉ=ïáää=ÄÉíÜÉ=Ñáêëí=çåÉë=~åÇ=ä~ëí=çåÉë=íç=ÄÉ=êÉï~êÇÉÇI=íÜÉ=Ñáêëí=çåÉë~åÇ=ä~ëí=çåÉë=íç=ÄÉ=éìåáëÜÉÇI=~åÇ=ïÉ=ïáää=ÄÉ=êÉï~êÇÉÇ=çêéìåáëÜÉÇKKK= Äó= çìêëÉäîÉëKKK= íÜÉ= êÉëí= áë= àìëí= ~= ãáêêçê= íÜ~íêÉÑäÉÅíë=ìëI=~=ÄçìåÅáåÖ=ï~ää=KKK=tÜ~í=~=ÖêÉ~í=ãóëíÉêó=áë=íÜÉéÉêëçå~ä=Éîçäìíáçå>
We are... what we are!
fíDë=íêìÉ>=tÉ=~êÉ=ïÜ~í=ïÉ=~êÉ>fåÇÉÉÇ>=jçîÉãÉåí=áë=çåäó=éêçÇìÅÉÇ=Äó=ÇáÑÑáÅìäíáÉë=KKK=Äìí
íçç=ã~åó=çÑ=íÜÉã=~äëç=ÄäçÅâ=ìë=ïÜÉå=íÜÉó=ÖÉí=íç=ÄÉ~í=ìëKKK^åÇ=~åóçåÉ=ïÜç=Ü~ë=åçí=ÄÉÉå=ÇÉÑÉ~íÉÇI=ê~áëÉ=óçìê=Ü~åÇ>fíDë=íêìÉ=KKK=~åÇ=óÉíI=É~ëÉ=äÉ~Çë=áåÉñçê~Ääó=íç=ÇáÑÑáÅìäíóK=^
Ä~ä~åÅÉ=íÜ~í=ïÉ=ãìëí=ã~å~ÖÉ=ïáëÉäóW=íÜÉ=Äê~îÉI=Äó=ãÉ~ëìJêáåÖ=ÜáãëÉäÑ=áå=Üáë=Åçìê~ÖÉ=KKK=qÜÉ=Åçï~êÇ=áå=Üáë=ÑÉ~ê=KKK=qÜÉä~òóI=áå=Üáë=ä~òáåÉëë=KKK=jìÅÜ=çÑ=?ïÜ~íÉîÉê?I=ÉîÉå=àçó>I=ÄêáåÖëé~áåKKK= ëí~åÇáåÖ= ëíáää= ãÉ~åë= ÉåÇáåÖ= ìé= Äó= ÇÉÅçãéçëáåÖóçìêëÉäÑI=Äìí=áÑ=óçì=âÉÉé=ãçîáåÖ=íçç=ãìÅÜI=ëççåÉê=çê=ä~íÉêóçìDää=äçëÉ=íÜÉ=ÅÉåíÉêKfë=áí=åÉÅÉëë~êó=ëìÑÑÉêáåÖ=ëç=ãìÅÜ\=qÜÉ=êáîÉê=~äï~óë=êÉ~J
ÅÜÉë=Å~äãäó=íÜÉ=ëÉ~KKK=läÇ=~ÖÉ=Ü~ë=áíë=~Çî~åí~ÖÉë=íçç>
Acceleration
låÉ=çÑ=íÜÉ=ãçêÉ=áåíÉêÉëíáåÖ=~åÇ=~í=íÜÉ=ë~ãÉ=íáãÉ=äÉëëïÉáÖÜíÉÇ=~ëéÉÅíë=çÑ=íÜÉ=~ÅÅÉäÉê~íáçå=çå=Üìã~åë=áë=íÜ~í=çÑìåã~ëâáåÖ=áíë=ÇÉîáÅÉëK=fÑ=ïÉ=ëí~êí=Ñêçã=íÜÉ=áÇÉ~=çÑ===éÉêëçåEáå=i~íáåI=~ÅíçêDë=ã~ëâFI=íÜÉó=Ñ~ää=~í=Ñìää=ëéÉÉÇ=éìëÜÉÇ=ÄóíÜÉ= ïáåÇë= çÑ= ~ÅÅÉäÉê~íáçåK= eìêêáÉë= ~åÇ= êìëÜ= ~êÉ= ~äï~óëÄ~Ç=ÅçìåëÉäçêëX=äáâÉ=ÖçÉë=íÜÉ=pé~åáëÜ=ë~óáåÖ=íÜ~í=íÜÉ=ïêáJíÉê=_Éåáíç=m¨êÉò=d~äǵë=~ííêáÄìíÉÇ=íç=háåÖ=cÉêå~åÇç=sffIïÜÉå=Üáë=íêçìÄäÉÇ=î~äÉí=ÇáÇåDí=ã~å~ÖÉ=íç=ÇêÉëë=Üáã=ïÉääW?aêÉëë=ãÉ=ëäçïäó=ÄÉÅ~ìëÉ=fDã=áå=~=Üìêêó?=E?e~ëíÉ=ã~âÉëï~ëíÉ?FK= qÜÉ= pé~åáëÜ= ÅçääÉÅíáçå= çÑ= éêçîÉêÄë= áë= Ñê~ìÖÜíïáíÜ=ïáëÉ=éÜê~ëÉë=íÜ~í=ÉñéçëÉ=íÜáë=ë~ãÉ=áÇÉ~=áå=íÜÉ=ãçëíÅÜ~êãáåÖ= ï~óW= ?eìêêáÉë= ~êÉ= ~= íÜáåÖ= çÑ= íÜáÉîÉë= ~åÇ= Ä~ÇÄìääÑáÖÜíÉêë?K= qÜÉ= pé~åáëÜ= ÅçääÉÅíáçå= çÑ= éêçîÉêÄë= áëÑê~ìÖÜí=ïáíÜ=ïáëÉ=éÜê~ëÉë=íÜ~í=ÉñéçëÉ=íÜáë=ë~ãÉ=áÇÉ~= áåíÜÉ=ãçëí= ÅÜ~êãáåÖ=ï~óW= ?eìêêáÉë= ~êÉ= ~= íÜáåÖ= çÑ= íÜáÉîÉë~åÇ=Ä~Ç=ÄìääÑáÖÜíÉêë?Km~êëáãçåóI=íÉãéÉêI=~äï~óë=êÉèìáêÉë=~=íÜçêçìÖÜ=ã~å~ÖÉJ
ãÉåí=çÑ=íÜÉ=~ÅÅÉäÉê~íáçå=íÜ~í=áåî~ÇÉë=ìë=~åÇ=ëìêêçìåÇë=ìëKqÜÉ=ïçêäÇ=áë=êìëÜáåÖ=~åÇ=íÜçëÉ=ïÜç=~êÉ=ìå~ÄäÉ=íç=Éî~ÇÉ=áíëé~ÅÉI=áåî~êá~Ääó=ÄÉÅçãÉ=ëä~îÉë=íç=ÅáêÅìãëí~åÅÉëKeìêêáÉëI=ïÜÉå=íÜÉêÉ=áë=åç=êáÖÜí=íÉãéÉêI=éìää=çìí=Ñêçã=ïáíÜáå
çìê=éêáãçêÇá~ä=å~íìêÉëI=ÄÉÅ~ìëÉ=íÜÉêÉ=áë=åç=íáãÉ=Ñçê=ÅçåÅÉJ~äãÉåí=çê=áãéçëíìêÉK=_ìí=Ñçê=ÉîÉêóçåÉ=íÜÉêÉ=áë=~=íÜêÉëÜçäÇçÑ= éêÉëëìêÉJ~ÅÅÉäÉê~íáçå= EïÜáÅÜ= ~êÉ= íÜÉ= íïç= ëáÇÉë= çÑ= íÜÉë~ãÉ= ÅçáåF= ïÜÉêÉ= íÜÉ= ÑçêÅÉ= çîÉêÅçãÉë= ìëI= ~åÇ= íÜÉå= íÜÉçåäó=ïÉ~éçå=áë=Ü~îáåÖ=ïçêâÉÇ=ÇÉÉéäó=çìê=ÅçåëÅáçìëåÉëëK
Crisis and change
`êáëáëI=Ñêçã=íÜÉ=dêÉÉâ=κρίσιςI=ãÉ~åë=?ÇÉÅáëáçå?X=áí=ÇÉÑáJåÉë=~=ãçãÉåí=çÑ=ÅçãéäÉíáçå=çê= êìéíìêÉ=çÑ=~=éêçÅÉëë= íÜ~íÇÉÑáåÉë=íÜáåÖëX=Ñêçã=íÜÉêÉ=íÜ~í=áí=Å~å=ÄÉ=~äëç=íê~åëä~íÉÇ=~ë?àìÇÖãÉåíK?qÜÉ=~ÅÅìãìä~íáçå=çÑ==ÉåÉêÖáÉë=~êçìåÇ=~=ÅÉåíê~ä=~ñáëI=Öê~J
îáí~íáåÖ=áå=~=ëéÉÅáÑáÅ=ëÅÉå~êáçI=Ñçääçïë=åç=ê~åÇçã=é~ííÉêåëíÜ~í= ÉáíÜÉê= ~êÉ= êÉäÉ~ëÉÇ= Ñçê= ä~Åâ=çÑ= ëíêÉåÖíÜ=çÑ= íÜÉ=ÅÉåíê~ä~ñáë=~åÇ=~êÉ=ï~ëíÉÇI=çê=~êÉ=ÅçåÇÉåëÉÇ=áåÅêÉ~ëáåÖ=áíë=ëçäáJÇáíó=~åÇ=íÜÉå=êìëÜ=áåíç=ëçãÉíÜáåÖK=få=~åó=Å~ëÉI=ÉîÉêóíÜáåÖíÜ~í=Ü~ë=~=ÄÉÖáååáåÖI=Ü~ë=~å=ÉåÇK=qÜÉêÉÑçêÉI=áë=åçí=íÜÉ=äÉ~ëí~ãçåÖ=íÜÉ=ïáëÉ=íÜÉ=îáêíìÉ=çÑ=ÇÉí~ÅÜãÉåíK
The reverse side of intelligence is arrogance
qÜÉêÉ= áë= ~= ãÉÅÜ~åáëã= ïÜáÅÜ= áë= áåíêáåëáÅ= íç= íÜÉ= Üìã~åÄÉáåÖ=~åÇ=íç=íÜÉ=ï~ó=Üáë=íÜáåâáåÖ=áë=çêÖ~åáòÉÇI=íç=íÜÉ=ï~óÜáë=Äê~áå=ïçêâëI=ïÜáÅÜ=áë=~å~äçÖóK=táíÜ=ÖêÉ~í=ëìÅÅÉëëI=~å~JäçÖó=Ü~ë=äÉÇ=ìë=íç=ëìÅÅÉÉÇ=~ë=~=ëéÉÅáÉëI=ÉîÉå=íÜçìÖÜ=ïÉ~êÉ=åçí=êÉ~ääó=~=é~ê~Öçå=çÑ=îáêíìÉ=çê=éÜóëáÅ~ä=í~äÉåíëK
I
táíÜ=~å~äçÖóI=ëí~êíáåÖ=Ñêçã=ëçãÉíÜáåÖ=âåçïåI=ïÉ=ã~å~ÖÉÇ=íç=áåÑÉê=Äóëáãáä~êáíó=ÅçåÅäìëáçåë=íç=êÉëéçåÇ=íç=íÜÉ=ìåâåçïåK=qÜÉå=ïÉ=~ééäó=êÉ~ëçåáåÖíç=îÉêáÑó=íÜÉ=ÇáëÅçîÉêó=~åÇ=é~ëë=áí=íç=íÜÉ=åÉñí=ÖÉåÉê~íáçåK=^=ÖêÉ~í=ëóëíÉãI=åçÇçìÄíK=eçïÉîÉêI=íÜáë=éçëáíáîÉ=~ëéÉÅí=çÑ=çìê=éÉÅìäá~ê=ï~ó=çÑ=ÄÉáåÖ=íÜáåâáåÖ=~åáJã~äëI=ÄÉ~êë=ÜáÇÇÉå=çå=íÜÉ=Äçííçã=çÑ=áíëÉäÑ=~=íÉêêáÄäÉ=êÉîÉêëÉ=ëáÇÉI=ïÜáÅÜ=áë=íÜÉ=êççíçÑ=~êêçÖ~åÅÉKcçêÅÉÇ=Äó=íÜÉ=áãéÉê~íáîÉ=çÑ=åÉÉÇI=íÜÉ=~ÄçîÉ=ãÉåíáçåÉÇ=éêçÅÉëë=çÑ=íêóáåÖ
íç=âåçï=ïÜ~í=ïÉ= áÖåçêÉ=Äó=ãÉ~åë=çÑ= Åçãé~êáëçåI=ïÜáÅÜ= í~âÉë=ìë= íçéçëáíáçå=çìêëÉäîÉë=Åçåëí~åíäó=ÄÉÑçêÉ=íÜÉ=ìåâåçïå=íÜêçìÖÜ=ÅÜ~ääÉåJÖÉëI=Å~êêáÉë=áãéäáÅáíäó=áå=áíë=~ÄìëÉ=~=íÉêêáÄäÉ=íêÉåÇ=íç=ÄÉäáÉîÉ=íÜ~íïÉ=~êÉ=íÜÉ=ÉñÅäìëáîÉ=ÄÉ~êÉêë=çÑ=íÜÉ=íêìíÜI=~åÇ=ÇÉÑáåáíáîÉäó=íÜÉçïåÉêë=çÑ=~=íÜêçåÉ=íÜ~í=ÇçÉëåDí=Ñáí=ìëI=ÄÉÅ~ìëÉ=áí=ïáää=~äï~óëÄÉ=ãçêÉ=ïÜ~í=ïÉ=ÇçåDí=âåçïI=íÜ~å=ïÜ~í=ïÉ=âåçïK^ë= íÜÉ= êÉ~ä= ÅÜ~ääÉåÖÉë= ~êÉ= äÉëë= íÜ~å= íÜÉ= áã~Öáå~êó
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äáãáíëI=ãÉ~ëìêÉë=Üáë=ëã~ääåÉëëX=~äíÜçìÖÜ=íÜÉêÉáë=åç=ÄÉííÉê=~åíáÇçíÉ=íç=~êêçÖ~åÅÉ=íÜ~å=ÇÉÑÉ~íIäÉ~êåáåÖ=Ñêçã=áí=áë=èìáíÉ=~åçíÜÉê=íÜáåÖKqÜçëÉ=çÑ=ìë=ïÜç=Ü~îÉ=~=íÉåÇÉåÅó=íç=~êêçJ
Ö~åÅÉI= éÉêÅÉáîÉ= íÜÉ= ÅÜ~åÖÉ= ïÜÉå= óÉ~êëã~íìêÉ=ìëI=ÄÉÅ~ìëÉ=ïÉ=ÄÉÅçãÉ=íÉãéÉê~íÉEåçí= äìâÉï~êãFI= ~åÇ=ïÉ= äççâ=~í= íÜÉ=ïçêäÇ~åÇ= çìê= êÉ~Åíáçåë= ïáíÜ= éÉêëéÉÅíáîÉKqçäÉê~åÅÉ= áë=~= Ñáêëí=ëóãéíçãI=ìåÇÉêëí~åJÇáåÖ=áë=çåÉ=ÉîÉå=ÄÉííÉêI=~åÇ=Åçãé~ëëáçåáë=íÜÉ=Ñáå~ä=çåÉK=qÜÉëÉ=~êÉ=íÜÉ=ìåãáëJí~â~ÄäÉ= ëáÖåë= íÜ~í= ëçãÉíÜáåÖ= Ü~ëÅÜ~åÖÉÇ=~åÇ=ãçÇìä~íÉÇ=çìê=å~íìJêÉI= Äìí=ïáíÜçìí= ÑçêÖÉííáåÖ= íÜ~í=ïÉ~êÉ=ïÜ~í=ïÉ=~êÉK^í=íÜÉ=ÉåÇI=~=Öç~í=ïáää=~äï~óë=ÄÉ
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“Personal evolution is such agreat mystery!
We change everything withoutchanging our essence, because what we really
change, in essence, is only the fitting.”
https://www.facebook.com/alfredo.tucci.5
Last December 24 it wasreleased in Asia "Ip Man 3";a few days later, inJanuary, it arrived in UStheaters on a limited basis.Again, and l ike thepreceding installments, thefilm was directed by WilsonYip Wai-Shun and starredby Donnie Yen. Productionhas been sheltered by anexcellent cast of actors andstuntmen, including mostnotably Mike Tyson, whobroke a f inger duringfilming; Danny Chan, whoplays Bruce Lee, a role thatis famil iar because heembodied the king of
qÉñíW=mÉÇêç=`çåÇÉ=C=j~ãÉå=`~¥~Ç~ë=oìÑçKmÜçíçëW=«=_ìÇç~êÅÜáîÉë=«=hÉáíÜ=hÉêåëéÉÅÜí
he figure of Yip Man (Ye WenIp Man &) is unquestionable.The master wouldn't enjoythe international projectionthat currently has if not forthe fact that he was Bruce
Lee's master and mentor.
Martial Arts in the series"The Legend of Bruce Lee"(2008) and he alsomimicked him in "ShaolinSoccer"; Liang Chia-Jen,well known to Hong Kongmovie lovers with 139 filmsin his filmography; KentCheng with 132 films andMax Zheng ("TheGrandmaster"), amongothers. The choreographyhas been done by thepossibly bestchoreographer of HongKong, Yuen Woo-ping, whorocketed Jackie Chan tofame with "Snake in theEagle's Shadow" and"Drunken Master in the Eyeof the T iger", andrecognized worldwide forhis work in the saga of"Matrix" and "CrouchingTiger, Hidden Dragon".Given the attention that
the f i lm is awakeningeverywhere, and theinterest itself ofGrandmaster Ip Man's lifestory, Budo Internationalbrings you this month abiographical article on thisextraordinary Sifu.Under his unmistakable
look of amiable old man,always smiling, tall, thinand bald, hides anextraordinary man whoselegendary biography hasenshrined him as one of the"immortals" of the MartialArts. Most people knowhim as "the master ofBruce Lee", but Yip Manwas much more than that.He was an exceptionalmartial artist, master ofmasters and, indisputably,the diffuser of Wing Chunat a global level.
T
Great Masters
Despite what has been written anddisseminated, Bruce Lee was just"one more student's" of Yip Man. TheLittle Dragon never got to have a highlevel within the style. When Bruce Leeset off for America, within the schoolthere were many students far moreadvanced than him. In addition, andcontrary to what has been reported,he hardly had any contact or trainedwith Yip Man. Sifu was verytraditionalist and he taught accordingto the Chinese customs. As the school"Patriarch", he only trained directlywith the most advanced students (the"Big Brothers"), who, in turn, taughtother students. This makes clear thatBruce had learned most of his WingChun from the hand of other pupils,such as Will iam Cheung or WongShun Leung. Contact between BruceLee and Yip Man was thereforeephemeral and very sporadic.Yip Man’s life, however, has the
necessary ingredients to become alegend in its own right; but beforegetting into the story of his troubledexperiences, it would be convenientknowing some historical backgroundrelating his art and his masters.Legend has it that Wing Chun was
created back in the FourteenthCentury by a Buddhist nun named NgMui, who devised such a peculiarcombat system after observing thefight of a crane with a fox. The art waspassed down throughout centuries insecret, as tradition demanded. In theearly Nineteenth Century, the 5∞Guardian of the Style was Leung Jee,an herbalist fond of Martial Arts. Helived in Fatshan, a town in theprovince of Kawantung, in southernChina. Across the province thispeaceful herbalist was known for hisunusual combat effectiveness. Thosewho dared challenge him (who werequite a few) came out invariablydefeated by his devilish way of movingand by his favorite technique, the IronPalm. Leung Jee was actually verypeaceful, but as his reputation grewfighters who challenged him todiscover his secrets multiplied.Chan Wah Sun, another outstanding
master and fighter back then, ferventlywished to learn under the tutelage ofLeung Jee; but the latter, faithful to thetraditional hermeticism of Martial Artsat the time, refused to share hisknowledge with Wah. Leung wasreserving his most precious teachingsfor his son, Leung Bik, who wasdestined to become the 6∞ Guardianof the Style. When he reached acertain advanced age, he decided toteach Bik his art in private. Every nightthe two met in the herbal store totrain. Chan Wah Sun, decided to movehis money exchange office (that wasthe way he earned his living), to a site
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adjacent to Leung's herbal store, sothat he could spy on the master andlearn his secrets. In this way, nightafter night Wah, hidden in thedarkness, Chan assimilated graduallyall the teachings of Leung. But theteacher, who although old man hadlost none of his lucidity, soon realizethe presence of inopportunespectator; however he pretended notto have discovered him and began toteach all concepts and movementserroneously to confuse Wah. Then,during the day, and while Wah was atwork, Leung Jee devoted to rectify histeachings to his son so that helearned the true Wing Chun. So Wahstudied a totally adulterated version,with scarce displacements and full ofmisconceptionsNevertheless Chan Wah Sun, being
a very shrewd person and particularlygifted for the fight, was progressing infits and starts, modifying what helearned and adapting it to the realityof combat. The result is that he didn'tlearned genuine Wing Chun, but hemodified all the absurdities that LeungJee was "teaching" him, to the pointof making them really effective incombat. The proof is that, after thedeath of Leung Jee, Wah challengedLeung Bik to bet the Guardiansuccession of the Style in a duel, andhe won the batt le. Wah wasconvinced that he had won thanks tothe Wing Chun techniques learned insecret, when in fact he won despitethem. Leung Bik was certainly stillvery inexperienced to successfullyface a fighter forged in a thousandbattles, like Chan Wah Sun. Bik, withthe his honor trampled underfoot, andhis soul mortified, disappeared fromthe region and Wah became the newhead of the Wing Chun style, an artthat he didn't really know! He alsocontinued investigating other MartialArts on his own.Wah's victory and his new status
as Guardian of the Style, conferredupon him such a reputation that hecould f inal ly open a Mart ial Artsschool and say good bye to themoney exchange trade he hated somuch. He buried the nickname,"Wah, the forex trader", and startedto be known as the "wood man",following an exhibition he made inwhich he destroyed with his fists asol id wooden training dummy.However, the "business" of MartialArts was not yet too lucrative in thosedays, because only small groups ofdisciples were instructed. Therefore,Chan Wah Sun sought the protectionof a "Maecenas" who yielded him apart of his house for free to open hisschool. I t was precisely the Yipfamily, one of the wealthiest familiesof Fatshan city, which hosted him at
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“In 1968, Yip Man,with 70 years ofage, underwentsurgery for
stomach cancer,after which heannounced hisretirement from
teaching. This decision was ahard blow to the
Wing Chuncommunity as Yip Man had
retired withouthaving taught allthe secrets of
his art.”
their mansion. The patriarch of theYip clan, Yip Oi Do, decided toaccommodate such renowned martialartist to ensure the protection of hishome and his properties.Among the children of the Yip
family, there was a delicate and sicklyyoung boy named Yip Man, who wasborn on October 14, 1893. From avery young age, he received thetraditional education that wasreserved to the offspring of theChinese haute bourgeoisie: study ofthe philosophy, literature and classicpoetry, both Chinese and Western, aswell as certain noble arts l ikecalligraphy and painting. Yip Man'sdestiny seemed to be mapped outfrom the start: do Business Studiesand then participate in the familyaffaires. Nevertheless, they didn't bearin mind that their squalid son had awill of his own, and a very strong one,in addition. Since childhood, as soonas he had the slightest chance, heslipped out from his tutors' watch togo to see how the disciples of hisfather's protégé were training WingChun; this was something thatseemed to fascinate him.At the age of nine, he f inal ly
decided to go to talk to old masterWah (which already was 60 years old)and ask him to be accepted into hisclasses. Wah didn't take the proposaltoo seriously: he was just a kid -thought the master -, besides he wasof noble birth, so most probably he'dbe whimsical and inconstant. Thesituation was not simple. On the onehand, Wah wouldn't have had anyobjection to accept him if he were notfacing serious problems because ofspace with the 16 disciples healready had. On the other hand, hecouldn't reject Yip Man so lightly,because he was one of the sons ofhis "protector", of the person thatwas hosting him. To get out of theproblem, Wah decided to accept YipMan with one condition: in exchangefor three hundred silver coins. Thisrepresented a very large sum, so themaster assumed that Yip Man, withjust nine years of age, would not beable to gather that sum in years. Wahbelieved to have solved the dilemmawhen the very next day Yip Mancame with the demanded sum. Hehad spent years saving everyallowance that his parents had givenhim. The old master had no choicebut to admit him as a student, but hedidn't accept the money, of course.As for Yip Man's father, he was not
too keen on seeing his son get startedin Wing Chun. The future that he hadreserved for him was very different;besides, Martial Arts were not welllooked upon among the Chinesebourgeois classes ever since the
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Boxer Rebellion. But Yip Oi Do made the same mistakeas Chan Wah Sun; he took it as a sudden whim of YipMan, convinced that his son would abandon his martialpretensions as soon as he started suffering the harshtraining in his own flesh. On the other hand, he alsoconsidered the tremendous physical benefits thatMartial Arts could bring to his feeble child.In this way, and with the skepticism of those around
him, Yip Man was introduced in the Wing Chun worldwith just nine years of age. If anything characterized theyoung Yip Man was his extraordinary wil l anddetermination.Wah, who hadn't taken him too seriously from the
start, imposed an extremely rigorous training disciplineon the bourgeois youngster in order to discourage him.But the harder the training, the more he devoted to it.After some grueling months of test, the master, amazedby the exceptional determination of his youngest pupil,decided to accept him as the baby of the Wing Chunfamily. Over the years, Yip Man earned the respect ofhis Master and "Big Brothers" to such an extent thatWah came to seriously consider whether to train him sothat he could become his future successor.In 1911, Master Chan Wah Sun died suddenly. Yip
Man was only 13 years old and he had been practicingWing Chun for four years. He continued to train forthree more years under the tutelage of the advancedstudents of the school, or "Big Brothers".When he turned 16, his father sent him as boarder at
St. Stephen College, a Catholic institution in HongKong, to learn English and add the Western knowledgeto his education. There, the hard institutional living andcompetitiveness of his peers forged an iron character inYip Man and let him put for the first time to test theirmartial skills in numerous fights among students. Hiseffectiveness in combat reached such heights that hesoon ran out of opponents, neither in the school nor inthe neighborhoodHowever, the impulsive Yip Man was constantly
seeking clashes in order to improve his martialeffectiveness. One of his friends told him about aneccentric Gung Fu practitioner who worked in a silkfactory in the port and was reputed to be invincible incombat. One evening Yip Man went to the port insearch of the fishing boat where they had told him thatlived and slept the renowned fighter.When he finally found it, he
challenged him loudly from the pier. Hedidn't get any reply, so, outraged, threwa stone against the boat. Then a deepvoice quietly asked him what was helooking for. Yip Man responded curtlyand defiantly: "They say you'reinvincible in combat. I'd like to fightwith you..." A man who was about fiftypeered over board, looked at Man upand down and said: "You are too youngand skinny. I don't want to waste mytime, but I'll give it a try. Execute a Tao(a Gung Fu form or kata) and let's see ifyou are worth it." Yip Man was notintimidated by the fighter's arrogantdisdain and executed the Sil Lum Taoform of Wing Chun, with agility andforce. "All right - said the challengedwith a smile - I'll give you a try, but thefight will be on my boat ..." Yip Manboarded the fishing boat and bothcontenders got on guard. Suddenly,Man pounced on his opponent like anexhalation throwing a bri l l iant
succession of punches. However, the man blocked allhis punches with astonishing naturalness and sent theyoungster to the water. Man swam back to the boat,cl imbed over the board and again attacked hisopponent with redoubled fury, but he nullified all hisattacks with a devilish ease and again Man was tossedoverboard into the cold waters of the port.Yip Man finally realized that he was in front of an
exceptional master of Gung Fu so, soaked to theskin, he asked him humbly to be accepted as hisstudent. The man, without answering a word, turnedhis back and began to prepare dinner. Thereafter,Yip Man started to go every night to the master'sboat with offerings and presents, he even used towash his clothes and cook dinner for him; despiteall that, the man hardly addressed a single wordtoward him.But after over two months, and at the respectful
insistence of young Yip Man, the master finally openedhis mouth to ask, "Who taught you Martial Arts?" -"Master Chan Wah Sun, of the Wing Chun style." Giventhe response, the master's gentle features betrayed anintense emotion that Yip Man was unable to interpret.The enigmatic fighter remained staring at the horizonfor a long time and when he turned around he lookedYip Man directly in the eyes and said. "Okay, I'll showyou my art. I'll teach the true art of Wing Chun." YipMan was stunned: what did that mean? He thoughtthat there was only one Wing Chun style, which he hadlearned directly from the hand of the Keeper of theSchool.Seeing the astonished expression of the young, the
master continued: "My name is Leung Bik and I am theson of the one who taught your master. Besides, I amthe 6∞ Guardian of the Style and the only practitionerof true Wing Chun still alive." Bik explained to Yip Manwhy and how his father had deceived Wah, who neverlearned the original Wing Chun.Up to that moment, what Yip Man had practiced was
just a peculiar amalgam of Wing Chun totallyadulterated and mixed with many other Martial Arts inwhich Chan Wah Sun had been investigatingthroughout his hectic existence. Although such a hybridwas certainly effective in combat, it was not the originalWing Chun: this had only survived in the person of
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Leung Bik, who had never taught anyone nor had hadany intention ever of doing it. In this sense, we can saythat true Wing Chun would had been lost forever afterthe death of Leung Bik had it not been because, asluck and good fortune would have it, coincidentally, astubborn young man called Yip Man got in the way ofBik and he became the depositary of this extraordinaryMartial Art.Yip Man thus became the disciple of Bik and learned
the genuine Wing Chun in ful l , i .e., with secrettechniques included. Leung Bik died a few years later,but that time was enough so that Yip Man, withdetermination and dedication, could learn everythinghis Sifu knew. Yip Man returned to Fatshan, hishometown where, as the official successor to theoriginal Wing Chun began teaching at 4 or 5 students inthe early 40’s. He didn't stalled however in his study ofMartial Arts, but he continued to exchange techniquesand knowledge with their former fellow practitioners,students of Chan Wah Sun.He still was a young man, so he didn't like the rigid
hierarchy that characterized the Gung Fu schools of thetime. From the outset, he established as a general ruleauthentic friendly relations with his students. He didn'twant them to call him "Patriarch"; he preferred thenickname "Man-Sok", i.e., "Uncle Man". Over theyears, however, Yip Man would become much morerigid and traditionalist, and gradually implanted at hisschool the typical hierarchical scheme Patriarch-BigBrothers-Beginners. But in the 40's he establishedanother rule that, unlike the first, he never would breakuntil the end of his days: he never charged for hisclasses, he taught for pleasure and did not want thatmonetary matters would muddy his school.At that time he began working, for pure pleasure, as
chief of the Fatshan police station. His fame started toprecede him, everyone knew his uncanny ability toreduce and arrest "outlaws". His exploits becamefamous in the region. These include, having reduced onhis own a band of eight dangerous criminals. Also, hefaced many Gung Fu experts, many of which were real"troublemakers".When in 1949, the Chinese People's Revolution
succeeded, Yip Man fled to Macao; but he didn't get totake "roots" in this place. After a short time, he movedto Hong Kong, where he settled for therest of his life. Upon arrival to theBritish colony, Lee Man, who wassecretary of the union of restaurantworkers, al lowed him to use thefacilities to implant his teaching. In thisplace, Yip Man began to train his firstgroup of students. His teachingsstarted in July 1950. He quicklybecame the leading exponent of WingChun in Hong Kong, earning areputation for extraordinary teacher,although somewhat eccentric. Thelatter was due to the fact that he didn'tdo any publicity for his school (and, inspite of this, it was very well known),he didn't charge for his classes and henever accepted students easily (it issaid that when someone wanted toenter his school, Yip Man used toinvestigate the candidate for monthsbefore accept him definitely). If, forwhatever reason, he decided to rejectan applicant or expel a student,nothing could make him change hismind.
It was in the fifties when they began to excel in theschool of Yip Man a series of extraordinary martialartists. Names like Tsui Sheung Tin, Ho Kam Ming orWong Shun Leung are already inscribed in goldenletters in the history of Wing Chun and Martial Arts.They were formed under the tutelage of the "smilingSifu". The best known of these, Wong Shun Leung, firstcame to Man's school one afternoon in 1954 asking fora demonstration of the effectiveness of Wing Chunagainst boxing, discipline in which he was an expert atthe time. The test was so convincing that from that dayhe got fully integrated into the Yip man "family". Shortlyafter he became one of the most outstanding studentsof the school, and he was known by practitioners ofother styles of Gung Fu as "Quarrels", because anyexcuse was a reason good enough to challenge almostall relevant martial artists in Hong Kong. In fact, thefame that the Wing Chun stylists soon acquired ingeneral was that of being genuine "rude boys", roughand quarrelsome people that kept challenging everyoneand fighting to test and refine their skills and publicizethe style and the school.In 1955 there were already about 30 students,
although most of them stopped attending classes whenYip Man moved the Kwoon (dojo) to Lee Tat Street, inKowloon. The new site was placed in the heart of theHong Kong slums and Yip Man was compelled to denyaccess to many applicants, somewhat disturbing andsuspicious; but he also hosted some gems from the likes
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“In 1955 there werealready about 30
students, although mostof them stopped
attending classes whenYip Man moved the
Kwoon (dojo) to Lee TatStreet, in Kowloon.”
of William Cheung or Bruce Lee. These were two realslum-dweller hooligans; however, they showed muchmore passion and enthusiasm that many veterans.Bruce, who at that time was a totally irreverent andindomitable cocky lad, showed nevertheless atremendous respect for Yip Man. As Jesse Glover,Bruce Lee's first student recalls: "Bruce alwaystalked about Yip Man with great respect and I thinkhe was very proud of being one of his students. Iremember he used to say that Yip Man, although hedidn't weigh even 50 kilos, had a strike power farbigger than any of his students, superior even to thatof William Cheung, who measured almost 5'9” andweighed more than 176 lb. He also said that YipMan, at 65 years of age, still had such a skill that noone could touch him in combat.Shortly after starting the classes, Bruce heard a
story according to which Yip Man would haverecently killed another Gun Fu master of only oneblow, because he had refused to leave the schoolafter insulting the Wing Chun and the Sifu himself.Bruce Lee believed in the authenticity of the storybecause he knew the extraordinary effectiveness ofhis teacher. The Little Dragon was a promisingfigure in the school, but he left prematurely toimmigrate to the United States.During the first years of his "American adventure",
Bruce kept a periodical correspondence with YipMan, commenting his progress and explaining tohim that he was teaching Wing Chun to severalAmerican students. Actually, he asked him toaccept within the family of Wing Chun his mostadvanced student, the African American JesseGlover. It seems that Yip Man got very angry a lotbecause at that time, he thought that Wing Chunshould be taught only to Chinese race people; itwas like having an advantage over the West. But in1965, he radically changed his mind admittingpublicly that Wing Chun should be taughtregardless of race or nationality.In 1968, Yip Man, with 70 years of age,
underwent surgery for stomach cancer, after whichhe announced his retirement from teaching. Thisdecision was a hard blow to the Wing Chuncommunity as Yip Man had retired without havingtaught all the secrets of his art. Forthis reason one of his students namedKwok Keung went to see him while hesti l l was recovering from theoperation, to convince him to teach in"closed-door sessions" to a verypromising student of his namedLeung Ting.Unexpectedly, Man accepted and,
bypassing all the hierarchy rules(many Big Brothers or even his ownchildren should have been a priority inthe succession), he taught to youngLeung Ting the Wing Chun that onlyhe knew in its entirety. Yip Man diedon December 1, 1972, at the age of79 years. Leung Ting became theleading exponent of Wing Chun andthe successor of the "Smiling Sifu".Currently, Wing Chun is one of themost practiced Martial Arts worldwideand Yip man has become in his ownright, one of the most emblematicMartial Arts masters, to the point thathis life has been brought to the bigscreen.
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“Legend has it that Wing Chun wascreated back in the Fourteenth
Century by a Buddhist nun namedNg Mui, who devised such apeculiar combat system after
observing the fight of a crane witha fox.”
he world today is full ofinnovative ideas, systems,forms, examples that inancient times would havemade a difference in the
battlefields. Then, the very idea of time, tradition, conservation, etc.,refers us to the idea of "art". Such aconcept can only be measured by themind that contemplates, the mind that
feels itself called by the images thatare transmitted to it... Getting lost incomparisons is the same as going tosee a play by Shakespeare andcompare it with the film Matrix!
Nevertheless, the conflict is normalfor those who are accustomed to asimple and modern vision of theMartial Arts in general. The conflictsupposes, without any doubt,
contradiction: contradiction in thefeeling, in the thought and in thebehavior. There is contradiction whenwe want to do something and we areforced to do the opposite.
For most of us, where there isadmiration there are also jealousy andhatred; and that's contradiction aswell. In the addiction there is anguishand pain, hence, contradiction,
The traditional and the representative!
"The point about education is the knowledge, but not of the facts, but of the values."
(Dean William R. Inge)
It would be foolish wanting to equate the needs that stimulated the Martial Arts ofthe Sengoku period to an evolution and growth of their forms, with the real needs ofour days. Common sense, that suggests a historical view of the parts that alwaysexemplify through the "Kata" or previously established forms, possesses a specialsearch; however, in modern times, it's possible - and that depends on each one - thatthe superficial view could highlight some lack of knowledge of those who establish acomparison in a naked and raw way.
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conflict. The observation, beyond the possibilities of yes and no, of truth andfalsehood, is no doubt a sound way to get to the bottom of things.
We could say that, within the habitual etiquette, position is paramount: back straight,chin up... but common sense is the best way to avoid commit exaggerations. It's quiteunpleasant that someone who attends an exhibition tries to speak about his or hermaster, or shows his or her personal impressions publicly, speaks about how they do itin his or her school, and things like that... Most of the times, we are in a determinedplace to admire and not to do publicity of another person.
The traditional arts possess a historical factor of incalculable value; this is whatdetermines which ones are and which ones aren't. As Louis Bonald said: " The cultureforms wise persons; the education forms people". Let me explain:
Different mental regimes, or who knows, daily habits, reveal themselves in somecases as fictitious pleasures which exclude the possibility of stagnation. Culture, nodoubt, is one of these wonderful points that lead man to permit himself being insertedin other worlds created by other people.
Closely analyzed, this form of vision usurps, in different patterns, that which feedsignorance. It's simple, the small fact of permitting that the idea of the other personpenetrates and catches my attention, or takes my gaze, is in itself a point of expansionof our individual measures of observation. Given the fact that the life we observe in anexterior scenery reacts and develops in the form with which we allow it to be evident,the mind, in communion with the factor "integration", undoubtedly explores newuniverses in more utilitarian versions - whether in spiritual or material levels.
During my days as a student of the Catholic University, I got to understand, througha dear teacher, that the reasons that we use in different instants, are no more thancertain projections of truths previously sowed. Within so many perspectives that Idiscovered across the habit of reading (and I expect to be able to continue relying onthe tools that offers maintaining this habit with books, magazines, periodic, etc., to
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“Learning, wanting to learn, yields way to the ease of"reinventing" oneself through a "Facebook",
social networks, etc.There's no turning back! We are destined to have torespect this inexorable law, at the cost of minor
damage and with the greatest advantage, if it is still possible...”
alternate with the boredom that consumes and ill-treats usof our daily work), one of them called my attention: the I(myself) and the OTHER!
How to establish a type of observation measure, when inour inner reality already exist proportions acquired throughother experiences? What's happening, or will it happen, inthe mind of each one of us, when, for example, we arelistening to Bach? I remember a youngster who, uponlistening to a Bach composition, his first reaction was: "Thisis horrible!" Today's generation, more technological, istransiting along rhythms and sounds adjacent to the tribesthat divide a whole mutant society - to the chagrin of many"dinosaurs" of earlier times.
Still, and at such a fast speed, let's get organizedourselves in a new adaptation process that, through anormal way, seeks to stylize our ideas, no matter howavant-garde they might be. Perhaps, in the case of theyoung man I mentioned before, his first impression hadbeen a cry for his ears, so attuned to the current "Tum...Tum... Tum..." which is a remnant of the "Disco" days, of themany sounds of the discotheques, like the "house" style oreven Hip Hop ... the reality is that in every mind commandsa type of culture, which is identified with some type ofoutside panorama.
If we look at it deeply, we can see that is the being whomust find by himself his meaning and his sublimation; it's he
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who establishes for himself the measure of "liking" or notwhat society presents. On the other hand, since everythingpasses and everything changes, I agree with François LaRochefoucauld, when he says:
"The absence deletes the small passions and strengthensthe big ones".
A student asks me:"... But what if reflection was only imagination, illusion?"We are part of a reality that obeys principles that can't
withstand ascension. Blaise Pascal said:"Imagination has all the powers: it provides beauty, justice
and happiness, which are the greatest powers in the world".We are all in a time of transit, of internal and external
changes. Technology seems to offer a panel of virtualrealities which, for their sharp interest already irreversible,"presupposes" that within a very few years, we'll be nothingmore than an image built through our traumas andcomplexes. Learning, wanting to learn, yields way to theease of "reinventing" oneself through a "Facebook", socialnetworks, etc.
There's no turning back! We are destined to have torespect this inexorable law, at the cost of minor damage andwith the greatest advantage, if it is still possible...
Bugei
“he world today is full of innovative ideas, systems, forms, examples that in ancient
times would have made adifference in
the battlefields.”
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.: • DVD/KYUSHO 24REF.: • DVD/KYUSHO 24
The Philippines has a long history of life and deathcombat. From ancient times to the modern day, thefighting arts of the Filipino archipelago have proventhemselves time and again to be efficient, effective andextremely deadly forms of fighting. There are countlesssystems of Filipino martial arts spread throughout the
thousands of islands in this region. Many arefamily arts and no “outsider” will likely
ever learn them. Fortunately, manyhave also been made available tothe rest of the world. From theKyusho perspective the studybegins with learning revivaland restorations, but thendevelops mobile armtargeting as its Martialfoundation. When youdissect an attack, besidesa kicking action, all otherattacks start with the arms,but the challenge is that thearms are the fastest movingparts of the body with thegreatest range of motion anddirectional attack capability.
So it is a very challengingsection of training that should be
integrated into every session, in somany variations. There are other
ways to make this level a bit easier andone is in the skill of Arm Trapping. Kali
Master Raffi Derderian and Kyusho PractitionerEvan Pantazi - a collaborative film
Budo international.comORDERS:
MORE HIGHS & LOWS OF KICKING
by Grandmaster John Pellegrini
A few months ago, I got thechance to spend a little timewith my good friendGrandmaster Bill “Superfoot”Wallace. I have known Bill foralmost 30 years. We becamefriends after he sat on the examiningboard for my Chang Moo KwanTaeKwonDo 6th Dan test (he evensigned my certificate!). Over theyears, we have conducted many jointseminars and training camps. Weeven traveled to Ireland and Finlandtogether. We have also been VIPguests at many Martial Arts eventsand Hall of Fame celebrations. In2006, Bi l l jo ined the Board ofDirectors of The IndependentTaeKwonDo Association, an organization Ifounded over 25 years ago.
So, when I recently watched him teachone of his kicking seminars, I should nothave been at all surprised at his ability tokick anyone to the head effortlessly andwith blinding speed. I had seen him dothat thousands of times. But what gotme this t ime to reflect on hisexceptional skill was the fact that, just2 months before, I had called Bill towish him a happy birthday. “Superfoot”had just tuned 70 years old!
Combat Hapkido
“Even when I was at the top of my TaeKwonDo skills,(about 25 years ago) I was never able to kick nearly as
good as Bill (who was?).”
ven when I was at the top of my TaeKwonDoskills, (about 25 years ago) I was never ableto kick nearly as good as Bill (who was?).However, I was respected as an excellentkicking technician and could routinely kick
the average student to the head, break multiple woodenboards with powerful jumping kicks and deliveraccurate, very fast, high spinning kicks. So, now you maywant to know if I still can do that and the answer is….no.
Over the last 10 years, I have lost a great deal of myflexibility and my joints (knees & hips) have stiffened withmild arthritic discomfort. Part of the reason is also thefact that I no longer spend 2 hours a day stretching as Iused to do when I was teaching 15 TaeKwonDo classes aweek. Once I shifted the focus of my martial arts career torealistic Self-Defense, I felt that the ability to kick to the headwas not necessary and that, even if able, attempting to deliversuch kicks in a street fight, would actually be a dangeroustactic. Therefore, when I started structuring thesyllabus of my Combat Hapkido System, Idecided to include a limited but powerfularsenal of kicks that would be effective ina real self-defense situation and, just asimportant, kicks that most people,men and women of all ages, wouldbe able to deliver relatively easily.After months of research andexperimentation, I selected adozen kicks to become partof our technicalrequirements. I believe thatthe kicks we selected forour system are more thansufficient to deal with mostsituations.
E
So, how did we arrive to the foundation of our Combat Hapkido kicking philosophy? First we had to analyze some of the realities of everyday life:
• People wear regular clothes and shoes, not designed for acrobatic kicks (unlike most martial arts or athletic uniforms).• Most people are naturally not very flexible and do not start the day with
stretching exercises before they leave the house.
• The terrain where an attack may happen could be slippery with ice or rain,uneven, rocky, muddy, etc.. Not ideal for fancy kicks.
• High kicks take longer to reach their destination and are easier to block or evade.
• High kicks leave the body exposed and more vulnerable to counter-attack.
• High kicks and spinning kicks cause the body to lose balance.
• Mature and older people and those with physical limitations (past injuries,surgery, illness, accident, etc..), are not able to deliver high kicks.
So, after considering and evaluating those factors and other relevant observations,we made a few, simple technical decisions for our system:
• We eliminated all jumping (and flying) kicks.
Combat Hapkido
• We eliminated all spinning kicks. • All kicks are directed to the lower part of the body (below the navel).
By now you may be wondering: That’s all well and good for Combat Hapkido,an art that focuses exclusively on self-defense, but what about the ITA, yourTaeKwonDo organization, do you apply the same kicking philosophy? And theanswer is…no.
TaeKwonDo is primarily a kicking art and you cannot take out or modify 80%of its kicks and still call it TaeKwonDo! It attracts a large number of children (whoare much more flexible!) and it is an important player in martial arts sports. Highkicks, spinning kicks, jumping kicks, flying kicks and all kinds of acrobatic,gravity-defying kicks, are part of the challenge, the excitement and the enduringappeal of this beautiful art. And that’s why my friend Bill is still in such highdemand and is booked for seminars a year in advance! But so am I…only with adifferent crowd.
And our joint seminars have always been successful because we bring togetherboth groups of students and instructors, those looking for great kicking techniquesand those interested in practical self-defense. We compliment each other.
And for those of you who think I envy Superfoot’ s kicking skills and the factthat he does not seem to change with age, I will simply say: you are right! Andeven after all these years, I still try to convince myself that it all comes downto…genetics.
High or low…keep on kicking!
Combat Hapkido
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.: • DVD/TAOWS3REF.: • DVD/TAOWS3
What happens when two people practice Chi-Sao,what is the meaning of their practice and what theobjectives? In this 3rd DVD, "Chi Sao from the base toan advanced level," Sifu Salvador Sánchez addressesperhaps the most important aspect of Wing Chun: Chi-
Sao, the soul of the system itself, whichprovides the practitioner with some
special characteristics which arecompletely different from others,
and gives him great virtues. Thisrole deals with some aspectsquite basic in principle, but asyou delve into them, they'llbe surprising to you. It is avery clear featuretraditional Chinese culture;what it's very obvious atfirst glance, itnevertheless contains asecond or third reading,which will surely changeyour approach, practiceand understanding. We willdiscuss how to practice ChiSao through our working
drills and how to apply thosedrills, that ability in a sparring,
linking certain concepts,perhaps not so much tied to
traditional Kung Fu, such asbiomechanics, structures, knowledge of
physics, etc., in order to obtain betterresults in our practice.
Budo international.comORDERS:
All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.
REF.: • DVD/LARRY4REF.: • DVD/LARRY4
In this DVD, G.M. Larry Tatum (10th Dan) developstechniques of the Kenpo program at the highest level.
Particularly, some of his “favorites” like FlashingMace, Parting Wings, Entwined Lance…
Masterfully executed and based on theexperience of the movement, G.M.
Tatum incorporates his innovativeteachings in these techniques thatwill help you add andcomplement your training inthe Kenpo system. Besides,they provide the individualwith the best choice for self-defense, based on thelogical and practicalthinking, and place him inthe path of understandingthe art of Kenpo. These arethe self-defense andfighting systems of themodern times we live in.They are designed so that thepractitioner gets all the
benefits that training thesetechniques can provide. This DVD
has the support of Master AdolfoLuelmo (9th Dan), who goes on with a
series of techniques performed in asmooth and strong way, for situations of
extreme aggression, in which can be appreciateddifferent states of the movement, in a logical andeffective way. As a conclusion, Master Camacho Assisi(8th Dan), displays a technique that combines thestrength of the arms and his expertise with legs.
Budo international.comORDERS:
The last few years I've read many statementsthat suggest that Jeet Kune Do is no longerrelevant. I've heard it said that learning JKD waslike driving a 40-year-old car when you shouldbe driving a brand new one. The strange thing isthat the arts they claim that you should betaking, like silat, Thai boxing, or some form of JiuJitsu, are actually much older that JKD. They saythat to get along in this modern world of noholds barred, ring type of fighting, you mustcross train in both stand up as well as be wellversed in some form of grappling. How true isthis? Is knowing JKD enough? I have to admit that if you are planning to fight
in a UFC type of match just knowing JKD willprobably not be enough to get you through tothe end of the fight. JKD is after all a stand up artwith no rules. I feel that is one of the most it not
the most effective stand up arts that exists.There's always the chance that when youropponent charges you and attempts to take youdown that you do a perfect interception with astraight lead punch and knock him out, butthere's also a good chance that your distanceand timing will be off and you'll be on the groundbefore you know it. To learn to survive in the ring,you also need to learn to survive on the ground.While footwork, hitting on the move and kickingcan get you out of a lot of trouble, it may notalways work. When watching the UFC noticehow many times one fighter starts throwingpunches only to have his opponent shoot underthem and take him to the ground. It seemslogical that any stand up fighter who wants to gointo the ring should learn to avoid the take down.He must also learn to ground and pound, work
A great thinker of Jeet Kune Do, extraordinary benchmark,indispensable teacher, Tim Tackett wrote this book, paragon ofintelligent reflections on the revolution that the Little Dragon openedand left unclosed in his short passage through this world. An essentialbook for understanding that legacy. Today we offer an excerpt of thiswork, now available on download at very low cost. Don’t miss it!
Alfredo Tucci
for a submission, or get back on his feetif he does land on his back. If you wantto fight in the ring, knowing JKD will notbe enough. You will need to cross train.How about on the street? I've heard
some JKD'ers say that no one can everget them on the ground. I'm not surethat they are correct. While it is easier touse JKD in the street, you may still endup on the ground. One advantage thatJKD may have in the street is that thereare no rules. Two of JKD's main toolsare not allowed in the ring. They are thefinger jab to the eyes and the shin kneeside kick. I've never seen anyone take ahard finger jab to the eyes and keepfighting. JKD is also very much a shoeart. A lot of our kicking is based onwearing shoes. A shin knee side kick inthe ring while barefooted won't get youvery far, while in the street wearingheavy shoes should finish the fight ifyou know how to kick. While 90% of allfights do not necessarily end up on theground, enough of them do that youbetter learn how to deal with going tothe ground. To learn to survive in the street you
will also have to cross train. You willhave to learn grappling, but if you're notplanning to go into the ring with rules,the focus of your grappling training willbe different. You will need to learn whatBert Poe called combat grappling. Combat grappling's basic idea is that
you don't want to grapple. It believesthat while being on the ground may notbe too bad in the ring, it can be fatal in a
Jeet Kune Do
“If you ask 10different Bruce Leestudents you arelikely to get 10
different, althoughsimilar, answers.”
street fight. Rolling around on theground with some thug while hisfriends are kicking your head in is nota good strategy for survival. Bert Poealways told us that if you are on theground with someone who wants todo you harm, break something andget back to your feet as fast aspossible.Our idea of cross training is to work
on your JKD so you can stay on yourfeet. Your opponent will have to getby your shin/knee side kick, and thenyour leg obstruction, and then yourfinger jab to be able to grab you. Thenthere's biting, gouging, knees andelbows. If he gets through all of that then he
still has to get you on the ground.This is where some from of cross
training will come in. Since there areno rules in the street, we take most ofour techniques from Bert Poe. We'vealso been lucky to work with and pickup stuff from such great grapplers likeMark McFann, Jim McCann, RichieCarrion, Eric Paulson and Lloyd Kennedy.
We work on not go ing to theground, but if we do end up there,we try to “break something and getback on our feet” as soon aspossible.
WHAT JEET KUNE DOARE YOU DOING?
Ever since the tragic and untimelydeath of Bruce Lee there has been acontroversy about just what JeetKune Do is. If you ask 10 different Bruce Lee students you
are likely to get 10 different, althoughsimilar, answers. This causes a lot ofconfusion about just what Jeet KuneDo really is. Because there are somany versions of JKD out there it'seasy to be come confused. To reallyunderstand JKD we need to have anunderstanding of its evolution. Before Bruce Lee's untimely death
few people knew much about JeetKune Do. It was always taught to aselect few. After Bruce passed awaythere was never any intention tocommercialize JKD. There was nothought to having seminars on JKD orof writing books on the subject. But itwasn't long after Lee's death that wenoticed a lot of Jeet Kune Do schoolsspringing up around the world. BruceLee was now famous andunscrupulous people were takingadvantage of his fame for commercialpurposes. The one thing thesespurious schools had in common wasthat what they taught had more to do
with the techniques that Bruce did inthe movies than real JKD. While thereare elements of JKD in Bruce'smovies, what is shown is a far cryfrom what Bruce taught. One of themain reasons for starting to give JKDseminars was to educate the publicas to what authentic Jeet Kune Doreally was. While this ended themisunderstanding between movieJKD and real JKD, some confusionstill remained. This is because someof the people giving seminars calledwhat was being taught Jeet Kune Do,or Jeet Kune Do concepts, whileothers preferred to call it Jun FanGung Fu. Because of this, many questions
about JKD remain. These are manyand varied. For example: What is JeetKune Do? Was it merely Bruce Lee'sexpression of himself in combat? Is ita style? Is it a system? Is it aprocess? Is it a product? Can it betaught? And is it merely anamalgamation of other martial artstechniques?When I was studying with Dan
Inosanto in the early 1970's, therewas no confusion. Bruce Lee was inHong Kong making his first movie. Atthat time there were only 12 studentswho met twice a week in Sifu
Jeet Kune Do
“After working with orobserving all of the
people who arerecognized as JKD
teachers, it's clear tome that no one
instructor has theentire art that Bruce
created.”
Inosanto's backyard guy. What we learned in thatbackyard school was called Jeet Kune Do. The
name of the school was the Jun Fan GungFu Institute. Jun Fan was part of Bruce'sChinese name. The name really meant“Bruce Lee's School”.
At that time it was one of the fewplaces in the world where you couldlearn Jeet Kune Do. Because of this wefelt that it was a special art and shouldnot be taught to just anybody whowalked in the door. We were told that ifknowledge was power then we shouldpass it out discriminately. There were
certain things that we were told not toshare with anybody else. Most instructors of JKD seem to feel
that they are teaching the “real” Jeet KuneDo. After working with or observing all ofthe people who are recognized as JKDteachers, it's clear to me that no oneinstructor has the entire art that Brucecreated. All anyone has is a piece ofthe puzzle. Some have a larger piecethan others, but no one has it all. Thisis because Bruce taught differentthings to different people at differenttimes and different places. We candivide the JKD that is taught into 2different, basic types. These arecommonly called Jeet Kune DoConcepts and Original Jeet Kune Do. Jeet Kune Do Concepts started with
Dan Inosanto. He made a promise toBruce Lee not teach JKD to thegeneral public. After Bruce left for HongKong to do “The Big Boss” movie theschool in Chinatown was closed, and
Dan Inosanto took a select group and started asmall JKD group in his backyard. After Brucepassed away Dan started getting invitations toteach at summer camps. Since Dan did not wantanyone at the camps to get a certificate that saidJeet Kune Do on it, he insisted that all thestudents who attended have the name Jun FanGung Fu on their certificates of participation. Thiswas because Dan felt that you couldn't reallylearn JKD at a weeklong camp and didn't wantanyone leaving the camp thinking that they couldteach JKD. Even though Dan Inosanto didn'twant his hosts to advertise that he would beteaching Jeet Kune Do, they insisted on usingJeet Kune Do in their advertising. Dan wanted JunFan Gung Fu used, but since few people knewwhat that was they kept using Jeet Kune Do. Danthen started saying that he wasn't really teachingJeet Kune Do but rather Jeet Kune Do Concepts.He defined that as using JKD principles in histeaching, but what these principles were neverreally defined. Most of the JKD concept people seem to view
Jeet Kune Do not as a system or style. They viewit as more of a philosophical approach whereeach practitioner develops a personal expressionof Lee's art. They regard JKD as merely a startingpoint to their own personal expression of fighting.They use a quote of Bruce Lee that states thateveryone should, “Research their own experience,absorb what is useful, reject what is useless, andadd what is their own.” Concepts proponentsencourage martial artists to look at as manymartial arts as possible and chose from those artswhat works for them. Using the conceptsapproach a student may learn when attacked toenter with a move from kali, follow up with a silatmove and finish up with a move from Jiu Jitsu.
Jeet Kune Do
“Bruce was interested inconstant experimentation,
but it was not justexperimentation for its
own sake.”
The proponents of what is calledoriginal JKD feel that JKD conceptsproponents have confused thegeneral public as to just what aspectsof JKD they are using. They feel thatJKD is more than just “doing yourown thing”. To the original proponentJKD has a definite structure that mustbe taught and used to be “real” JKD,but even then there is confusion asBruce Lee taught different things todifferent people at different times. Youcan divide Bruce's art into four basiceras. One of the major reasons for
forming what was called The BruceLee Educational Foundation was topromote unity and comradeshipbetween the four phases of theevolution of Bruce Lee's martial art.Unfortunately this may not always bethe case. The reason may be amisunderstanding of what Bruce Leewas attempting to do with hispersonal evolution. Bruce wasinterested in constantexperimentation, but it was not justexperimentation for its own sake.Bruce's intense study of othermartial arts, and the passionateanalysis of various modern trainingmethods were for one purposeand one purpose only, and thatwas to make himself a bettermartial artist. With this end inmind Bruce Lee used his schools
as a sort of living laboratory. Forexample, a technique could be testedin the crucible of full contact sparring.Then an analysis could be made as toits efficiency. The various instructors who came
together to form what was called theNucleus decided to call Bruce's artJun Fan Jeet Kune Do. This woulddefine Bruce's art as to only what hetaught during his lifetime. Many ofBruce's students learned for himbefore he created Jeet Kune Do.Some call their art Jun Fan. Some callit Wing Chun Do. While others callwhat they do Core JKD. So we cansee that even among “original “practitioners there is confusion. The yearly JFJDK seminar gave
participants a chance to experienceall four eras of Bruce's martial art. AsJames Demile said, during aninterview about the late and great EdHart who was Bruce's secondstudent, he was glad that people gotto see all four stages of Bruce'sdevelopment as it was important tosee how A became B, and B becameC, and finally C became D. If youwere at the Seattle seminar it wasobvious that there are vastdifferences in the way the four erasapproach Bruce Lee's martial art. Ithink that James Demile said it bestduring his port ion of the thirdseminar in Seatt le Washington.
Referr ing to the differences heobserved between that of first era,which he was an important part of,and the forth (Chinatown) era, hesaid that it was as if we had differentteachers. At first glance it does looklike the first era and the last are twototally different martial arts with theonly thing in common is that theywere taught by the same person,Bruce Lee. But if we look at a briefhistory of Bruce Lee's martial artgrowth we can see that insteadlooking at it as four separate arts, weshould look at it as merely stages inone extraordinary man's desire tobecome the greatest martial artist inthe world. It must be remembered that when
Bruce Lee came to the U.S. in 1959he was only 18 years old. His mainmartial art was Wing Chun, which hehad studied since the age of 13. Hisfirst student was Jesse Glover whowent to Edison High School in Seattlewith him. Through Jesse Brucestarted training his second student,Ed Hart. Later he started teachingJames Demile and then Taky Kimura.At that time Bruce Lee mainly taught amodified version of wing chun withsome techniques from other gung fusystems. After about a year, Bruce,tired of being a bus boy at RubyChow's restaurant, opened a schoolwith Taky as his assistant instructor.
Jesse Glover, Ed Hart and James Demile, not wanting tostart all over, dropped out. In 1962 Bruce started teaching James Lee and Alan Jo.
In 1963 he moved his family to Oakland, leaving theSeattle school in Taky Kimura's capable hands. In OaklandBruce started a process of shedding some of his oldtechniques and adding some new elements to his personalmartial art. He added a major emphasis on physicalconditioning. Bruce also added Western boxing footworkto add mobility to his art, and Western boxing punching toadd variety and angles to his punching reparatory. At thistime Jun Fan Gung Fu, which is what Bruce Lee called hisart, consisted of Wing Chun trapping and straight puncheswith four corner simultaneous blocking and hitting, a
mixture of Northern and Southern Chinesekicking techniques with angle punchingand footwork from boxing. In 1964 Bruce made his move to Los
Angeles to co-star in the Green Hornettelevision show, and left James Lee incharge of the Oakland school. While in LosAngeles, Bruce made many trips to both Oakland andSeattle to work with James and Taky. In 1967 Bruce opened the Chinatown school with Dan
Inosanto as the head instructor. At this time Bruce startedadding fencing theory to his martial art. His front handfinger jab was used in a similar way to a Western fencingfoil. He adapted fencing attacks into the five ways of
Jeet Kune Do
attack. But most important of all he took the most efficientdefensive technique, which is to intercept your opponent'sattack with a stop hit. Bruce Lee felt that being able tostop hit is so important that he named his art Jeet Kune Dowhich means “the way of the intercepting fist”.With all of the above in mind, how should someone from
let's say the Taky era look at a technique from theChinatown era which seems to contradict the way Brucetaught them to do it? First of all we must get over theconcept of what is right and wrong. It is my opinion thattechniques from all the eras have value and are, in thereown way, correct. We must also keep in mind that the foureras were not totality separate as they flowed from one toanother. Having studied with various students of Bruce Leefrom the Chinatown era, I can state unequivocally that thereare even variances in the way Bruce taught them aparticular technique. A careful study of Bruce's notes fromthe Chinatown era shows that while he seemed to teachthe same things to different people, he made sure theyworked on what would be better for their body type. It isclear from working with different Chinatown students thatBruce Lee tailored his instruction to the individual so thatthey would do what worked best for them. This can be asmall difference punching with a diagonal fist instead of a
vertical fist, or a large differenceas the stop kick with its mostcommon follow-up. He seemed toteach people of smaller stature todo a shin-knee side kick followedby a finger jab. For people oflarger stature, like Bob Bremer, forwhom it would be more efficientto crash the line, he taught a legobstruction followed by snappingdiagonal punch. In the abovecase neither technique is right orwrong. They're just different.
One thing I know for sure is that Bruce Lee was notlooking for an inferior way to do something. The idea that a
technique from the Chinatown era is inferior to a techniquefrom an earlier era would opposite of all we know aboutBruce Lee. After all he was audacious enough to write in amagazine article an invitation to anyone reading it to dropby the Chinatown school and full contact spar. Bob Bremertold me that more than one person showed up to spar,watched the training for a while, then changed their mindand left. One example of a change between Bruce Lee's first era
and the Chinatown school is the straight blast. Bruce toldBob Bremer that there are really two straight blasts. Hetold Bob to use the wing chun shoulder square blast whenyour opponent is right in your face to get him off of youand stun him. This gives you the proper distance for theone-inch penetration-snapping punch. Once you get theproper distance you finish your opponent off with a straightblast that uses the weight of your body by throwing yourshoulders into the punches as well as your entire body.This is what Bruce lee would call a non-crispy attack whichcan also use boxing hook punches as well as straight linepunches. But this should only be used after your opponentis injured and would be unable to counter attackeffectively. An example of this can be seen in a video takenin Bruce Lee's backyard where his is punching the heavybag with heavy hooks. He, of course would never haveattacked someone with this method unless it was safe todo so. If you want to see this type of straight blast in actionlook at Jack Dempsey attacking Jess Willard in their titlefight. I know Bruce Lee watched it.I feel that all of Bruce Lee's students should make an
effort to learn as much as possible, or at least experience,the techniques and drills of all the phases of Bruce Lee'smartial arts. We should try to understand why Bruce threwaway what he did; why he changed certain things and whyhe added certain things. We need to know, for example, ifhis not focusing on the wooden dummy in Chinatown wasbecause he had already got the value out of it, or if hefound training method that he felt was more productive.We can't know only guess.
If by some miracle Bruce Lee could come back for ashort visit, I would ask him, “Sifu, of all the techniques youlearned, of all the drills you did, and of all the exercises youwent through, which ones were the most important? Whichones do you feel were a total waste of time? And whichones were essential for turning you in the great martialartist you became?” Although we cannot know the answer,I feel that students from all the phases of Bruce Lee's lifeshould get together in the spirit of mutual cooperation andlove for the legacy that Bruce Lee left us and try to thebest of our ability to answer these questions. I know that we would all become better martial artists
and teachers if we could do this. Unless we do this no onewill really “know” what Jeet Kune Do is, and ten years from
now if we ask ten different JKD teachers, “Just what JKDare you doing?” we will get ten different answers. After all we can't really know what JKD would look like if
Bruce Lee were still around to look into the most efficientways to use the human body for combat. Probably astudent of Bruce's would look at what we were doing in1973 and say that it looks as if we had different teachers.What we need to do is look at the core curriculum and useit as a guide into our own investigation into the mostefficient way to use the human body for combat. I feel thatby sticking to Bruce Lee's principles of combat while atthe same time learning and developing our own JKD wewill honor Bruce's memory in a way that he wouldapprove of.
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.: • DVD/SYSWEITZEL1REF.: • DVD/SYSWEITZEL1
In this comprehensive instructional video, AndreasWeitzel, founder and head instructor of the SYSTEMAAcademy Weitzel (Augsburg, Germany) and one of theleading SYSTEMA Instructors in Europe explains themost important fighting fundamentals. First he vividly
elucidates how to walk naturally focusing onthe correct execution of steps. He then
shows how to use this work in combatapplications. A variety of different
topics are explained in this movieincluding: How to unbalance an
attacker; How to strike andkick correctly; How to defendagainst, grabs, throws,strikes and kicks. Theexplanations in this videoare simple but clear withthe aim for easycomprehension andlearning for everyone.During his explanationAndreas always includesand focuses on the most
important principles andfundamentals of SYSTEMA
by showing how differenttopics are tightly linked to
each other. Furthermore freeand spontaneous work against
different attacks including weaponsis shown under realistic conditions and
full speed. In this video Andreas is assistedand supported by Michael Hazenbeller (Rastatt)
and Thomas Gößler (Augsburg), two experiencedSystema Instructors.
Budo international.comORDERS:
All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.
REF.: • 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:
"Perhaps one of the best theatrical performancesregarding Martial topics "
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"The magic, the charm, the taste of the genuine.The strength of a culture and a people
staged in its customs "
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During the past months wehave been studying the variousphysical exercises previous tothe performance of the kicksthat are developed in MartialArts in general. From now on webegin to undertake a study andresearch around the fight. Tothat purpose, first of all I mustpoint out the modalities whichare studied in Fu-Shih Kenpo.
The Raúl Gutiérrez Column
i rst there is the KenpoTraditional Combat, thatpermits the use of fists in alltheir angles and modalities,as well as the attacks ofopened hand, such as:
Seiken Tsuki, Uraken, Tettsui, TatteTsuki, Shuto, Teisho, Haito, etc., andthe different leg techniques: front kick,side kick, roundhouse kick, legsnapping wave block, descendingkick, back kick (Mae Geri, Yoko Geri,Mawashi Geri, Name Ashi Geri, UraMikazuki Geri, Ushiro Geri and othermaneuvers). Low kicks, the varioussweeping movements and eventakedowns would also be allowed.The Fu-Shih Kenpo Traditional
Combat is not limited by categories ofweight or degree. It's also a contactsport in which the one and onlyprohibition is that of hitting on vitalpoints, namely: Eyes, Ears, Nose,Vertebral Column, groin and joints. In
addition, fights are carried out withoutany protection in hands or feet. Beingtoo dangerous, it is only practiced inthe own Dojo and with a reduction andcontrol in the excess contact. It'sspectacular and therefore it requires ahigh level of physical, technical andpsychological preparation of bothcompetitors.And talking about physical
preparation, all those articles that Ihave been offering you previouslythrough my monthly column, should bestudied and constantly carried out,since general physical f itness isessential in order to dispose of theappropriate technique and strategy inpossible street clashes, tournaments,championships and even to passdegree exams or exhibitions.In other words, we must pay close
attention and dedicate enough time toour physical preparation in general,given that Martial Arts are considered
complete sports. And this is very easyto understand; no other sport - even ifmany of them also demand greatefforts and perseverance -, requiresfrom us having to cover so manyelements in order to carry it outsuccessfully. Martial Arts demand agreat deal of strength, coordination,speed, Aesthetics, Balance, etc. Theneach technique must be performed onboth sides (right / left). That is why theyare called ARTS. I often compare themwith the musical art, because in musicwe must feel and express each note,then come the chords, the melody,etc., and each element must be in itsright place, time and duration. Withoutall this, simply there is no melody thatsounds in tune. Similarly, a martialartist must get to feel the movement,do it with elegance, strength, speedand precision. Otherwise, like a badmusician, he would also be unable tocommunicate his style or art.
The Raúl Gutiérrez Column
F
Kenpo
“The Fu-Shih KenpoTraditional Combat is
not limited by categoriesof weight or degree. It'salso a contact sport inwhich the one and only
prohibition is that of hittingon vital points, namely:
Eyes, Ears, Nose, VertebralColumn, groin and
joints.”
The current modality of the Fu-ShihKenpo Combat can be likened to Kick-Boxing, in which, being a Contact stylein all its manifestations, it advocatesfor the demonstrated victory on thebasis of seeking the adversary's K.O.
And to protect themselvesmutually, they use
protections in feet, hands,groin and sometimesalso in the head.Then, f istt e c h n i q u e s ,kicks, low-kicksand sweepswil l bepermitted.In honor to
K e n p oGrandmaster Choki
Motobu (1923), in Fu-Shih Kenpo we seek to
approach as much aspossible to the "reality" of the
combat and therefore combateffectiveness is pursued. My ownfather (R.I.P.) was a boxer and fromvery early age I got started in gloves.But simultaneously I always felt veryattracted by the spectacular handlingof the legs, in such a way thatthroughout my career, alreadydemonstrated and registered in theannals of the history of Martial Arts, Ialways was near those great masters,specialists or professionals with whomI came across in my path.My prestigious friend and martial
fellow, the Karate and Kobudo MasterSergio Hernández Beltrán, said onetime that: Personally, my first contactwith the Kenpo was through MasterRaúl Gutiérrez in 1986, who introducedme into a very different vision of self-defense and, obviously, of combat.Master Raúl Gutiérrez, in his
presentations of the self-defensetechniques of his style, as well as incombat, considers and treats real
"contact" with some degree of control,but without avoiding showing therealism of the art.Because of his traditional
background in the Kenpo system, hewas one of the first Masters that, at theend of the seventies in Spain,approached an emerging combat sportknown as Full-Contact.Putting on the gloves in order to
bring the fight to a contact situationcloser to reality always had been themost natural thing for Master Gutiérrez,an important research field, so hetrained full contact sparring withMasters from the likes of DominiqueValera, Bill Wallace, Joe Lewis, JamesSisco, Tony Palmore, Johan Vos, JanPlas, Benny Urquidez, José VicenteEguzkiza, Danny Lane, Chuck Norris,Pepe Legrá, Evangelista, etc.From the sports point of view, the
subsequent "boom" of the contactsports systems, especially KickBoxing, and the approach to contactcombat from some "traditional"system, first known in Spain, like theKoshiki Karate-Do, led him to be thefounder and president of the "WorldKarate Koshiki and Kick Boxing Assn",WKA, and the "Koshiki SpanishAssociation", AEKO.In 1987, Raúl Gutiérrez traveled to
Irvine, California, to participate with hisSpanish Team for the first time in theKoshiki Karate-Do WorldChampionships, organized by the lateGrandmaster Robert A. Trias andMasayuki Kukan Hisataka. In theevent, Gutiérrez and his teammanaged to win several individualtitles, Champions in Amateur and ThirdPlace in Professional.In 1994, from 3 to 9 November, it
was held the 9th World Koshiki KarateChampionship in Japan, where adelegation headed by the MasterGutiérrez, participated with very goodresults as well. The meeting between
the President and Founder of theKoshiki combat system, MasterMasayuki Kukan Hisataka, 9th Dan,and Master Raúl Gutiérrez, resulted inthe recognition of the latter as 6th Danof Koshiki Karate-do, given publicly inTokyo, during the WorldChampionship. He also received highpositions in the World Federation(Member of the InternationalCommittee and Representative for
Spain, along with Luis Pérez Santiago, directpupil (Spanish) of Isataka Sensei.Tactically and strategically, after assuring a
good physical and technical preparation, theaspects that begin to become important are:dance in front of the opponent, both to breakand win angles of escape or attack; distances,the technical arsenal we have; analyze thebehavior of the opponent before our feints,dodges or actual attacks; take time to study theadversary, especially during the first round, findout what kind of competitor he is: pressing,circular, strong, agile, puncher, etc.The goal, after these considerations is that of
being effective. And this should be attainedthrough a job that allows progress withoutcausing serious injury. A good competitor willbe clean and prudent. For his own benefit, andalso for the protection of his opponent, he willnot lose control. The different exercises mustprovide the competitor the maximum technicaland tactical resources, and the appropriatesensations that allow him to control the distanceof the target and the mobility it has.Without apparent aggressiveness, he should
let drop his power in each impact with aneffective and, if possible, final technique. Hemust be capable of combining adequately histechnical arsenal with serenity and coldness.This will impress his opponent. He should also
try to carry out his own game or strategy andnot let himself be dragged by the strategy of hisopponent.Also, he should avoid all those techniques in
which he doesn't fully trust and those that makehim squander his energy, or throw punchessimply for the sake of punching. He must try tohide the possible weariness, edginess or painfor the received impacts, and learn to strikechaining his techniques at two or more levelssimultaneously.It's important to ensure not "to telegraph" the
attack to the opponent, by making it faster thanthe human eye, which will prevent his defense.Work with ease, agility and throw impacts asdirectly as possible.It must be kept in mind that we are facing an
adversary probably as well trained as we are,perhaps even better, who is also trying to attainthe victory in the bout.There are various Combat modalities with
different rules, such as Sport Karate, Light-Contact, Semi-Contact, Full-Contact, Kick-Boxing, Muay-Thai, MMA, World Tae-Kwon-Do, Traditional Tae-Kwon-Do, etc. All of thesedisciplines require high physical and technicalpreparation. But it is also vital to have fullknowledge and mastery of the ru lesgoverning the tournament or event inquestion. To know the rules and to f ight
The Raúl Gutiérrez Column
making the most of the combination of technique, tacticsand punctuation values can save a lot of unpleasantnessor disappointments.There are competitors who limit themselves to perform
their favorite techniques and tactics to ensure their success.And this may be not too attractive or spectacular, but forthem it's simply not to risk with other techniques that are
less safe, or even dangerous. When Full-Contact emerged,it was compulsory to execute a minimum of kicks in everyround. Otherwise, competitors limited themselves to"Boxing" and even many of them in a bad way. The use ofkicks, although they are more effective in relation to theweight and forcefulness, by contrast is much more tiring tothe competitor.
The Raúl Gutiérrez Column
In other tournaments, where Low-Kicks are allowed, manyof them focus on this effective kick with the tibia against thethigh. With such rules, tournaments are closed to allshowiness and then turn out to be very boring.But there are also magnificent professionals with a high
technical range, great visual impact, spectacularity,forcefulness and clean execution in all their maneuvers. InKyokushinkai Karate, K1, Sabaki Karate, for example, I've
enjoyed great sporting events that make your hair stand onend. Two professionals facing each other provide anamazing show, and despite the apparent hardness, theirhigh level of preparation makes the injuries are minor,because they are skilled enough to hit and receive withelegance and aesthetics. In the next chapter we will delveinto fists training and other concepts highly relevant forCOMBAT.
Kenpo
WHEN PEOPLE REACH THETWILIGHT OF THEIR LIFE...
"...They don't regret not having fulfilledtheir dreams; they regret not having had the
courage to fight for them".
Budo International: What is Instinct?Instinct is our heritage of millions of years of
evolution, it's our animal past, a long journey toget to what we know today as mankind, anintellectual humanity; all the science, business,professions, everything that happens in thepolitical world, religion, philosophy, is based onthe intellect; Instinct is something older, is theroot of evolution, is the before, during and aftermankind.
B.I.: How does the brain work?Understanding the basic brain function is
essential to know ourselves and comprehendour reactions and behavior to certain stimuli orsituations, but I don't have any intention ofboring you with complicated explanations; ourInstinct is the legacy of millions of years ofevolution and we have needed all that time sothat it could developed to what it is these days;simply put, something tremendously wonderfulyet incomprehensible; at f irst our braindeveloped in its most primitive state, like thatof a reptile, which takes care of the basicfunctions that keep us alive; when humansevolved, the reptilian brain evolved to thelimbic system, which is governed by emotions,memories; it's fast, instinctive, it reactsimmediately to danger and acts without effort.
But the big jump, which distinguishes usfrom animals, was the development of thecerebral cortex (the neo prefrontal cortex); this
Keysi
third part is what distinguishes us humansfrom animals, because thanks to it we canspeak; it's our rational brain, which is muchslower, Logical, calculating and aware.
B.I.: Can humans live without Instinct?Without our Instinct, we wouldn't survive
not even one single minute; this experience ofmillions of years is primitive, but infallible; itmakes no mistakes and produces in humanbeings miracles of which science and all theintellect of the world are not aware, nor willever be able to understand; for instance,Instinct makes that anything we eat - anddon't refer just to natural food, because todaythat would be practically a miracle -, turnsinto blood, and without going into detail, howis it possible that whatever we eat our bodytransforms it into blood? How does itseparate oxygen from nitrogen? How does itdistribute to each body part whatever theyneed? How can our body know the amount ofoxygen needed by the brain while eliminatesall the amount of garbage we put into ourbodies? Well, all this is carried out by theInstinct.
B.I.: Instinct and meditation?The great scientific discoveries are always
the result of meditation, not of the intellect,
Keysi
from Archimedes to Einstein. Relaxation is thebasis of meditation; Albert Einstein used tospend hours in the bathtub meditating, playingwith the soap bubbles; when you relax youleave all the tensions; meditating is to focus onthe present forgetting about the past and thefuture; it consists of practicing the attention tobecome more aware of our feelings.
B.I.: Keysi, Technique and Instinct.Instinct will never be eradicated, it's by
Instinct that the man Survives and Evolves; thesocial stress causes that our minds are Limitedand make us seek our references in theLimitation; analyzing the technique, I haveobserved that it allows us to carry out an
Keysi
action in the shortest possible time andwith the minor expense of energy,making the movement most effective;but I have also observed that techniqueis the exterior thing, what we physicallyshow, and this, applied in a realsituation is not functional. This is wherethe term "technical concept"disappears, and appear the"Principles", in search of what for me itis the most important thing: the Instinct;through technique it's possible to cometo develop a great skill; technique canbe taught, but not the Instinct, which isborn with each person and the primarycunning must be reawaken in eachperson.
Technique and knowledge are neededto have a real control of our physicalpower, but to have an immediateresponse in a real situation we need tohave a direct perception with realitywithout having any interference of theprejudices and ideology of our mind: inKeysi we strive to wake up andrecognize that state. It is a "knowledgethat transcends logic", creatingscenarios where through meditation andaction we transcend the limitations oflogic and the analysis, to respond in aninstinctive and creative way to thespontaneous and changingcircumstances in every situation.
If Technology, Knowledge and Theoryconsist of knowing something, theInstinct consists of doing it. The Instinctallows us to carry out something whileothers are still wondering if it would bepossible to do it. When it is obtained, itis known and felt.
Keysi
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.: • DVD/VIET6REF.: • DVD/VIET6
Comprehensive or Integral Vovinam is simply going back tothe Founder's true Vovinam. The goal of the founder wasclearly and openly declared: "Harvesting effectivetechniques, assimilate their essence and transform theminto Vovinam techniques", and indeed this concept still
remains in force and is mandatory for all VovinamMasters in the world. Vovinam is then a
research concept to achieve a supereffective style. However, today 90% ofVovinam teachers forget it and bendto a program too loaded, too fixed,too aesthetic and sometimescompletely ineffective innumerous techniques.Comprehensive Vovinam issimply rediscovering theoriginal essence of MasterNguyen Loc's art. For that,we have the principles, thebasic techniques, and wejust have to go back towork out the effective wayof every technique andapply the foundingprinciple. In this DVD, by thehand of Master PatrickLevet, we will study the basisof Integral Vovinam, threatsand knife attacks, integralcounterattacks, and defenseagainst Dam Thang (direct fist) Dam
Moc (hook punch), Dam Lao (javelinpunch) as well as basic leg levers.
Budo international.comORDERS:
The Yip Man’s Legacy
I 've been practicingMartial Arts most of mylife. I started at the age of5 years and I have neverstopped practicing untiltoday. I have devoted thelast 20 years to the studyand practice of the WingTsun Kuen style, and I cansay without deceivingmyself that the day I metmy master of Wing Tsun,everything changed in mylife (profession, passion,friends, studies, sparetime...). Whichever way Ilook at it, in one or anotherway, everything ends up inthe same place: passion forWing Tsun and for MartialArts.
In addit ion to myprofessional work teachingand promoting MartialArts, Wing Tsun Kuen andeverything around thisfantastic Kungfu style has
Wing Tsun
transformed my way to see, understand andwalk in life.
During all these years, and as it can be easilyimagined, I have met thousands of Wing Chunpractitioners all over the world. Especially inrecent years, in which I hold the post of TechnicalDirector of the Wing Tsun Department in theSpanish Federation of Olympic Wrestling andAssociated Disciplines (Federación Española deLuchas Olímpicas y Disciplinas Asociadas), I'vehad the opportunity to coexist and interact withvery different families and masters of differentlineages. Many were complete strangers to me.Today I call "friends" to some of them. This is my"testimony", my experience, but I'm sure thatmany of you who are reading this article orfollow our activities will find these words quitefamiliar. We could change the name of the personwho is telling his experience and I'm sure that itwould be very similar. Please allow me launchingthis personal reflection to introduce you in thismonth's article, which we have titled: "The YipMan's Legacy."
Wing Tsun
Why Wing Tsun?
First: It's a teaching progression perfectlydesigned, step by step, so that any normalperson can reach the top if he or she perseveresand works.
I think this is the most attractive point of thissystem. As a machine perfectly meshed, eachexercise develops a capacity to a certain level,and in the next grade, new exercises (especiallythe relevant Chi Sao sections), take you up toanother level gradually, step by step. This is hardto explain with words, it takes a few years ofpractice and it requires having progressed to thetechnical degree to appreciate it. Personally, themore I study, the more I practice and teach themore admiration produces me to see how wiselydesigned are the diverse degrees up to the 3rdTechnical Grade. Capabilities such as relaxation,training, learning to yield, explosive power, elasticenergy, adaptability and many others are skillfullydeveloped in a graduated way so that all thosethat follow its teachings manage to obtain theirresults
This intelligent design attracts the attention ofthose students who have practiced other fightingsystems, especially the inner styles, because theyfind clear and very precise instructions, and quickand verifiable results.
Second: A healthy method with a very lowrisk of injury.
In Martial Arts training, injuries can happen forthree reasons:
1. Accidents. A fall, a stumble, a slip, etc., thistype of injuries are accidental and occur bothoutside and inside the training hall.
2. Traumatism during free fighting. That is, by ablow or a lever made during a free exchange(either with full contact, semi-contact, etc.),basically, black eyes, broken nose, broken teeth,rib cracks, bruises and sprains.
Wing Tsun
Column
In WT, these type of injuries are fairly rare (provided thatstudents don't train on their own without any direction orcontrol) because normally, free combat is not practiced untilthe student reaches a certain level. The great distancebetween technical work and free fighting, is solved in a fairlyintelligent and logical way, by means of an intermediate stepthat we call Da Lat Sao, in which we try to apply our technicalarsenal, displacement, angulation, etc., on an opponent whokeeps moving (unlike many other styles that practice theirtechniques on unmovable opponents who collaborate"excessively").
In the practice of free Chi Sao, thanks to the control of theblows that this type of exercise provides, serious traumas arequite rare.
Most likely, the detractors of our system will think that youcan't get to do combat unless you practice at full contact.My experience in the world of Martial Arts tells me that it isprecisely that "soft" and flexible way of training whatattracts a larger number of practitioners, and especially,what makes those practitioners to "perpetuate" in theirpersonal training. In the end, effectiveness, with propertraining, appears as a result of practice and, quite curious,there are advanced practitioners with an incredible combatlevel and an astonishing impact power, although they neverpracticed full contact blows in free combat during theirlearning. It is another of the great virtues that this trainingsystem has achieved over the years and through itsconstant evolution.
Wing Tsun
Column
“In the practice of free Chi Sao, thanks to thecontrol of the blows that this type of exercise
provides, serious traumas are quite rare.”
Third: A deep style that excites andfascinates everyone.
Something I have been able to verifyis that WT creates real fans, not to say"addicts".
Many people start by chance and, astime goes by, they get more and moreinterested in the art until it becomes amajor aspect of their life. That is for mea fundamental aspect. WingTsungenerates enthusiasm in people whohad never thought of dedicating morethan a couple of hours a week to anactivity like this, and turns them intotrue martial artists seeking the masteryand knowledge of this exciting style.
Fourth: In the WT there are manyaspects to cover: Martial Art,philosophy (Confucianism, Buddhism,
Taoism), education, applications forhealth, psychology, Chinese culture,etc.
One life seems too short to mastereverything, but that doesn't discourageus, quite the contrary.
Anyway, enthusiasm can beconflicting. Our family probably won'tunderstand and so we have to organizeourselves well and be smart not toneglect other aspects of life (family,work, friends, etc.), and especially notbecome a boring "Wing Tsun nut" whospeaks all the time about the sametopic or has no other interests.
Fifth: A noncompetitive activity thatpromotes collaboration among persons.In WT, the fact of helping ourcompanion to improve, help us to
improve ourselves. The higher his levelthe higher wil l be also ours. Thisinterdependence is very beneficial,since it permits eliminating competitivityand creates a climate of mutualcollaboration and good humor.
Of course, that doesn't prevent toconsider who is better, but the questionis neutralized by the desire ofprogressing. Rather than seeing whothe number 1 is, we seek to advancecontinuously.
Vanity does not f it well with ourdevelopment in WT, at least duringtraining.
Sixth: A skill that stays long even ifyou stop training.
This is a curious and very tellingaspect of the art. I have contrasted
Wing Tsun
with students who because of family, professional orgeographical reasons had quitted entirely training for 4 or 5years, and upon returning to practice with them I noticedthat they hadn't lost virtually any of the skills developedearlier. Some have compared this with the ability to ride abike. Even if don't ride for years, as soon as you mount on abike again, you can start pedaling without fear of falling.Perhaps it is a type of neuromuscular memory, though I don'treally know. The fact is that it's highly motivating to know
that you don't lose what you have acquired, unlike othersports or activities.
Seventh: A capability that can be applied unconsciously.Another remarkably feature of the arte is the fact that when
you have reached a high level, it seems that it can operate onits own. Someone pushes you or grabs you, even if it'splaying, and your body reacts seeking the gap before yourealize what's happening. I know about colleagues who, if
Wing Tsun
Column
“Vanity does not fit well with our development in WT, at least during training.”
“A deep style that excites and fascinates everyone”
you move their arms while they are sleeping, they react as if they were doing Chi Sao. This is a very importantskill for real combat, in which you have no time to think or prepare yourself.
Eighth: WingTsun is also an interesting tool to understand Chinese culture.With a history of over 300 years, WT developed over one of the most turbulent and critical periods of
Chinese history: the Manchu invasion, the birth of the Triads, the Taiping Rebellion, the pressure of foreignpowers, the fall of the Empire, the Republic, the Japanese Invasion, World War II, the coming to power ofMao, communism and the subsequent opening.
When we study the history of WT, we arecontemplating sidelong the path followed by theChinese civilization. Chinese cinema has alsoechoed the lineage of WT masters. Thus we findfi lms whose protagonists are: Ng Mui, YimWingTsun, Wong Wah Bo, Leung Yee Tai, LeungJan, Bruce Lee; several films about Yip Man (withsignificant exaggerations) have also been recentlyproduced.
WingTsun is also an excellent way to access theChinese Traditional Culture, with its numerousTaoist, Buddhist and Confucian elements, that arefound in its theory and terminology, in the familiarrelationships of pupils and masters, in strategiesand technical principles, etc.
It is an interesting coincidence: in my opinion,the good things - and the others "not so good" -of WingTsun are the same that Chinese culturehas. In other words, we can see the idiosyncrasyof the Chinese people and their culture, accuratelyreflected in WingTsun and vice versa. We've talkedbefore about the shortcomings of our system, butI personally would like to stay with the virtues:respect, patience, humility and perseverance.
I am convinced that Kungfu is without a doubtone of the best - if not THE best - instruments tolearn Chinese culture: a culture that is called tobecome a world leader in the XXI century for itswealth, its influence, its population and its vitality.
And after all this, I think it will be very easy tounderstand the relevance of the Legacy of GrandMaster Yip Man! Perhaps you haven't thoughtabout it, but you, dear reader, are now reading theWing Tsun column in the Budo Internationalmagazine because you are driven by a passion,the same one that is driving me and many otherpeople around the world: Wing Tsun / Ving Tsun /Wing Chun (write it the way you prefer)
Wing Tsun
It is necessary to look back and see how fromYip Man's arrival to Hong Kong and the educationto students (up to that moment it only existed theschool of his master Cham WA Shum in Dothan),the growth of the system in the whole world hasbeen simply spectacular. Of approximately 20practitioners in the mid-20th century, we have goneon to over half a million in the whole world in only afew years.
If we can judge the legacy of a master for whathe has left his successors, that is, those who have"inherited" his bequest, then we can say that YipMan is one of the most important persons in thehistory of Martial Arts. From these pages I wish torecognize his GREATNESS and claim the maximumRESPECT for his figure and what his work hasmeant in our lives.
Today I have friends on every continent, peoplewho live and practice the noble art of Wing Tsunand to whom probably I would have never met ifnot for this exciting style of Kungfu.
Wouldn't you agree?
Sifu Salvador SánchezTAOWS Academy Founder
Column
“I am convinced thatKungfu is without a
doubt one of the best -if not THE best -
instruments to learnChinese culture.”
"What beautifies the desert is that it hides a well of watersomewhere."
Antoine de Saint-Exupery
"What we know is a water drop;what we ignore is the ocean.”
Isaac Newton
Flow doesn't mean being sloppy; definitely, water is not so, forit doesn't leave any corner uncovered... it reaches everywhere!As asturian
people say, "water has a very fine snout". Unhurried, coupling tothe circumstances, water is a metaphor for the persistence andextreme adaptability. It's the paradigm of changing in the formwithout transforming the essence.
Water catalyzes life; without water, the land dries and gets barren;and the fire, without a controller, spreads everywhere and the air, tur-ned into a sandstorm, cannot carry the fertility of the clouds, or theforce of the changes. Even iron is wrought by the use of fire in the forges!
Water is the cradle of all life, the primary livelihood of both inanimateand animate beings, all of them "bags" of hotter and hotter waters, accor-ding to their degree of evolution, and adapted to a change that weaccompany, of which we are part, and not guilty, as somewould have us believe. The "terminal sin" is the Judeo-Christian guilt of environmentalism.
Water comforts us, cleanses us, and blesses us.Wet in the rivers of the moment, we swim, fight,wreck...
Flowing, adapting to the barriers, going down,not opposing anything, water is the perfectanalogy of humility, adaptation and not con-flict. The water wins aimlessly; following itsnature, it surrounds any obstacle and tea-ches us how to overcome, but with wisdom,free from wear and tear, without losing sightof the goal. What is a rock on the road, amountain…? Even trapped in betweencliffs and narrow passages, water filters,or evaporates if such a thing is not pos-sible; nothing stops its destination.
It's been the river of life that has leftin my shores these texts, which todayI share in book format. And I say "itleft" because all authorship is at leastconfusing, since we are all deb-tors of those before us, thosewho inspired and keep inspi-ring us, of the floating cloudsof the collective unconscious,and even, who knows!, of thespirits and the consciousnessaround us.
I can't teach anythingbecause I don't know any-thing, but for those who wishto hear my poems, here I leavemy sincere and truly feltthoughts, every time more felt andless thought, because mind is adeceptive device that sees what itwants to see and I’ve learned to besuspicious about it.
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.: • DVD/SERAK-1REF.: • DVD/SERAK-1
Pukulan Pencak Silat Serak is a very brutal and devastatingArt. The Arts concept its to dominate and take overbattleground and space, fast dominating space and engulfing
opponents to prevent them from being able to usetheir weapons or body. Once space is acquired,
the base and angle are taken to controlopponents rotation or projection, rooting
or uprooting is produced from thesmallest expression of touch orangle and base position, this wecall “Lengket” or sticky.
Keeping very close toopponents when striking orusing a weapon and puttingopponents on “Slywa” orweightless stage of spinaland muscle misalignment.Once rooting takes place,the strike makes massivecontact in the body that hasno muscle or skeletalprotection. “Sambuts” arefinishes meaning somethingvery hard to walk away from
especially when compression ofneck or spine, so finishing means
its a done deal. The opposite ofthat is a “Buang” that stands for
throws less devastating in the beginnerlevels but taught to learn mechanics that
in later phases of development of thestudent or practioner can be modified to
“Sambuts” for devastating throws. Compressingskeletal structure, weapons and body structures or striking,grapping defense and offence are all played and studied in ourplatforms. In this video there's a beginner “Pantjar” platform,also the “Jurus”, which are the playbooks of the system ofPukulan Pencak Silat Serak, are played here. This platformteaches where to be in position to attacker, the platform is 3dimensional and teaches where opponents body's alignmentsare the weakest to point of contact the platform. It also teacheshow to deal with multiple opponents and space needed, baseangle and levers are all play here. Hope you enjoy my smalloffering into a vast large Art. “Hormat Terima Kasi”.
Budo international.comORDERS:
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
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.: • DVD/KMRED-2REF.: • DVD/KMRED-2
We are pleased to present the second work ofthe KMRED group. This video bearing the name
"Concept and Education" aims to makeyou discover a part of the concept
Krav Maga Research, Evolutionand Development, as well asthe pedagogy developedwithin our group. Thedifferent exercises thatyou will discover here arenot intended to "feastyour eyes" ordemonstrate ourcombative attitudes,because our priorityhere is that ofexplaining how weprepare our students sothat they become"warriors", capable of
"adapting" to the differentevolutions of street fighting.
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