martial arts magazine
TRANSCRIPT
eaving aside the thousands of lies and liarswho populate the martial world, there existmany interesting Masters and traditions,which have the power, the interest and thenecessary strength to guide the next
generation of students who must pass on the message,the knowledge, traditions and ways that enrich andmake big the warrior paths.
We all have shortcomings and flaws, nobody'sperfect. Even the greatest Masters have their ownlimitations! Be that as it may, each student should striveto improve what he's received without betraying itsessence. This is especially true in the oldest schools,because everything that surrounds them has beenformed around powerful egregors, buried in the intenseand profound roots that fit firmly in the depths of time.But even some of these schools had their owntransgressors, special people who gave a new directionto what they had received from their tradition. JigoroKano did it with Ju Jutsu and Judo, Funakoshi with theTote Jutsu and Karate, Ueshiba with Aiki Jujutsu andAikido... In Chinese tradition it was no different, nor wasin the Korean custom....
Nevertheless, today many people have confusedliberty with licentiousness, tradition, with treason,knowledge with wisdom. Masters, so called, who alwaysgo their own sweet way for their own glory, or for thevery mundane reason of succeeding in the pursuit of"filthy lucre".
I won't name names, but intelligent observers knowwho they are.
Do I mean that everyone who doesn't do somethingthat has more than 300 years of history is a charlatan?No! Of course not! It would be like condemning with asmallholder view many great figures that wererevolutionary at their time and brought a new rich,positive and worthy outlook for many people.
When the argument that “any time past”, as LesLuthier said, “was only earlier”, what elements ofjudgment must lead our criteria?
Where is the dividing line that makes some peoplecyclopean transgressors and others boastfulcharlatans?
Is it perhaps good intention enough? Honesty, ethics,or sticking to a moral law?
Each of us has different criteria, differentiated values??that are the result of our education, our needs and
experiences. It would be presumptuous of me wantingto set that boundary, marking a clear line on the ground.Things are never white or black, there is always aninfinite range of gray, blurring those boundaries in acomplex amalgam, in which stories and multiple realitiesmelt in spiritual and physical planes.
Judging the value of one style or another only by theprism of success or diffusion, would be almost to agreewith the quantitative ... million flies love fecal matter (notto use a ruder word), yet it continues to be just that ...fecal matter. With regard to the qualitative values, thingscomplicate even more, since it depends on theapproach and look of every person, the personaljudgment and lucidity. Those who judge through theprism of efficiency as the supreme raison d'être of themartial, will see one thing; if priority is given to realism,they will see another thing; those in which the dividingpoint is health, will judge in a different way; if theimportance lies in the love and devotion to thattradition... it will be quite another.
The ceremony of confusion is served, there is no "onesize fits all" approach for framing almost nothing andyet, within the inner feeling of each, there existseverything mixed in our relevant doses, driving usforward in one direction or another, and choosingconsciously or unconsciously where to take our steps.Things are not good or bad in themselves, but by theway we live in them and how they transform us in thedirection that drives our deepest longing, our last andstrongest internal appreciation.
Some will pass by a style like a comet, others will getto it like someone returning home; some will present astransgressors themselves, others as champions oftradition. There will be those who will merely scratch itssurface while others will get to the very core.
The richness and variety of the martial world and of itsproposals is so big and has such entity that haswithstood the onslaught of the centuries. Its power iseternal, because it is contextualized in the primaryforces that also touch human existence; therefore itsneed no advocates, it will only find interpreters in eachone of us. I surrender to its greatness that I see unfoldeach day before my eyes, showing all its immensevariety of powers, now frightening, destructive andcruel, then noble, just and temperate.
The world of the martial is great! From what angle doyou look at it?
L
"I hope that martial artists are more interested in theroots of Martial Arts than in their different and ornamentalbranches, flowers or leaves."
Bruce Lee
"What we leave behind us and what lies before us arenothing compared to what we have inside."
Emerson
3
Alfredo Tucci is Managing Director toBUDO INTERNATIONAL PUBLISHING CO.e-mail: [email protected]
https://www.facebook.com/alfredo.tucci.5
The upcoming tradition
The wind and its legacy
“Experience is not what happens to you, but what youdo with what happens to you.”
Aldous Huxley
Time passes by and realities mutateaccording to the rhythm of life. Sittingtoday to observe in retrospect, I cansee far back in time the "I" who beganstudying Bugei under the directguidance of Shidoshi Jordan Augusto.Now I don’t measure any more thattime in terms of years or months, butfor the experiences that have changedme, transformed me. I remember, withstrength and importance, in the wordsof my master, the introductory phrase:“The boat you are boarding today is theone I left long ago.” And in my paddling Irealized that the pupil is the only rowerand the master is just a guide, anexperienced helmsman pointing thepeculiarities of the river, a river whosestreams change over time.
Text: Shidoshi Luis Nogueira
here's no doubt that these are different timesthan those that made him a master, and themasters who preceded him. Immediacy andsuperficial ity oppose patience andcommitment, modernity againsttraditionalism. For the nostalgic, something
common among traditionalists, the ever changing andfrantic realities of this century have no interest, and thelack of values ??and traditional sensibility generatesrevulsion. Nowadays, Bugei, the heritage of the Kaze noRyu (school of wind), as well as many other ancientschools, is stuck in a tug-of-war between a vast culturaltreasure, based on classical virtues, and the voraciouswill of modern man, who acts with his muscles ratherthan his head, i.e., more passion than reflection. Theseare times that determine, as the river, the starting point ofthose who undertake a traditional way of values and self-development., more passion than reflection. These aretimes that determine, as the river, the starting point ofthose who undertake a traditional way of values ??andself-development.
Despite the strong handicap that represents (and hasrepresented over time) being the heir to a tradition,perseverance has always been the common denominator.In the past, anyone who aspired to become the pupil of amaster, had first to pass through a phase that was calledKyûdôshin, the personal search on the Way, in which hewould strive to carry out tasks commissioned by themaster, sometimes nonsensically, in order to show histrue will and desire. This was his first big test of fire; thetempering of his perseverance (Keizoku åp ë±) and fullacceptance (Shouchi è≥ ím) of his apprentice condition.Without this raw material there wasn't much that themaster could do, just as the forger of katanas can do
T
nothing on the tamahagane ã ç| (steel for the forging ofswords) if the tatara Ëm (oven) is not hot enough.
People of great valueIn a not too distant past, in order to become a pupil,
the candidate would spend some time learning to takecare of the school, its environment and his peers. Hispractice was restricted to clean the dojo, wash andprepare the costumes of the more advanced students,etc. This process, no longer used, besides teaching theapplicant to carry out day-to-day activities, gave him avision of humility and respect for his senpai, moreadvantaged students, because when he exceeded thatstage, he knew that they too had gone through that sameperiod. In this way, they learnt the value of small things;simple but valuable sacrifices.
In the XXI century, these practices have become merestories but their values remain. Today’s difficulties aredifferent. The student doesn't need to clean a garden ofleaves every day or learn to wash dishes to forge hisspirit, since maintaining his iron will of learning in asociety with so many shortcuts is sufficient evidence. Andit is now when guiding successfully seems to be morecomplex.
“In a not too distant past, in order to become apupil, the candidate would spend some time
learning to take care of the school, its environment and his peers. His practice was
restricted to clean the dojo, wash and prepare thecostumes of the more advanced students, etc.”
At the other end of the scale, some styles still retainmany customs from the past that guide the students on apath of self development and responsibility. By way ofexample, even today, students are invited to leave theschool when they fai l to overcome a test. Thisrequirement, far from irrational, offers great benefits,since it encourages the student to put his heart and soulinto the apprenticeship and be a worthy recipient of theteachings he is receiving, moving away from the commonmediocrity and showing his true value...
And there's if one thing I can highlight of the peoplesurrounding me, from our Honbu-cho, head of the school,Shidooshi Jordan Augusto, and the rest of qualifiedpeople like Shidooshi Juliana Galende or ShidooshiThiago Finotti, among others, to our most advancedstudents who are formally walking through the studentsway in our accredited schools (Brazil and Spain) orinternational program, it is the profound value of them all,a value forged through daily effort, hard work, dedication,commitment study, simplicity and humility.
And there's if one thing I should like to highlight of thepeople surrounding me, from our Honbu-cho, head of theschool, Shidooshi Jordan Augusto, and the rest ofqualified people like Shidooshi Juliana Galende orShidooshi Thiago Finotti, among others, to our mostadvanced students who are formally walking along thepath of apprenticeship in our accredited schools (Braziland Spain) or international program, is the profound valueof them all, forged through daily effort, hard work,dedication, commitment study, simplicity and humility.
The Way of the Kokeisha (successor)In the Kaze no Ryu Ogawa ha tradition, every master
can name up to 10 Kokeisha in his life. Many can besuitable for the post, but only a few will be confirmed.
“In the Kaze noRyu Ogawa ha
tradition, every master can
name up to 10 Kokeisha in his life.
Many can besuitable
for the post, but only a few will
be confirmed.”
Being named successor represents a greatresponsibility. His appointment is not a conquest but anobligation, that of being worthy of inheriting the history ofhis master. All the life work of a teacher will be exposedand maintained by his successor.
In a tradition that considers honor so valuable, as theJapanese or the Shizen people, failure in this feat is thegreatest of misfortunes. After all, it will the heir with hisattitudes and decisions the one to do a worthydemonstration or, conversely, will give a bad example of alegitimate teacher and a tradition that survived for centuries.
Kaze no Ryu in the XXI centuryCurrently our school has an outstanding male trident,
the three pillars that ensure a healthy and successfulfuture to the Bugei worldwide. Shidooshi Jordan Augusto,one of the leading exponents (Hiroshi Ogawa formedpersonally 64 Shidooshi) and intangible treasure of a vasttradition, with decades of permanent effort anddedication to keep intact and spread the tradition thatwas handed down to him by Ogawa Sensei himself.Under his direct command are the most responsibleheads, the Kokeisha, Shidooshi Thiago Finotti andmyself, your humble servant, Shidooshi Luis Nogueira.
Shidooshi Thiago Finotti is now President of the Sul-Americana Bugei Society and master in charge at theHeadquarters in Uberlandia, Brazil. He is the technicalreferent in this century, and a deep connoisseur of ourtradition. Since his inception in the Bugei, Shidooshi ThiagoFinotti has dedicated long periods of his life to be trainedand instructed by Shidooshi Jordan, so that his technique,knowledge and character could be purely defined.
Finally, Shidooshi Luis Nogueira is President of theEuropean Bugei Society and head of the H.Q. in Valencia,Spain. He studies and works daily with Shidooshi Jordanin the maintenance of the school and its dissemination,studying in depth all its dimensions.
The three of us carry out the task of maintaining in alegitimate and professional way the huge historical legacythat precedes us, with all our might and great dedication.
The DVD "Krav Maga Research and
Development" comes from the will of four
experts in Krav Maga and combat sports,
Christian Wilmouth and Faustino Hernandez,
Dan Zahdour and Jerome Lidoyne. To date, they
lead several clubs and a group of twenty
instructors and monitors from multiple
disciplines, from Krav Maga or
Boxing to the MMA, Mixed
Martial Arts. This work is not
intended to highlight a new
method or a specific
branch of Krav Maga, it
simply aims to present a
Krav Maga program that
focuses on the
importance of the
"content" and share their
experi
REF.: KMRED1
All DVDs, wichi is produced by Budo
International, si provided and alone in the
formats DVD-5 or MPEG-2, in VCD, DivX
or the like is however neves offered with a
special holograma sticker. Besides our
DVD is characteristed coverings by the hig
quality in pressure and material. If this
DVD and/or the DVD covering do not
corespond to the requirements specified
above, it concerns illegal pirat copy.
Budo international.comORDERS:
Sinawali: \Sin-a-wal-i: to weave byset pattern, to weave the arms in onearm or double arm. To use the idea ofthe arms in the ability to open andclose. The arms in motion, the layers orchanging positions is similar to theweaving of the huts roofs in thePhilippines giving it the name.. Sinawali is important because it
teaches a way to move ones arms withina space without bumping into one's owntools or arms. Unfortunately many in theFilipino arts don't understand bodymotion and body shifting and the “art ofsinawali” has become the way of twistingones arms around themselves a highspeed without regard to hitting one's own arms or hands andwithout regard to how any times one may have cut one's ownhands, arms or elbows if one is using an edged tool like a knife,bolo or sword. Typically the arms go faster and faster to proveone understands Sinawali, the body stays square and rooted
and all sorts of acrobatic and gyrations are needed to makeone's arms open and close in sequence without becoming atangled mess. Some in the Filipino martial arts add upper bodyrotation to move their shoulders forward to try to untangle theirarms and then they declare that this is the missing piece in
Sinawali: theprogressions of weavingSinawali is commonly knownas weaving ones arms orthe patterns of weavingone's arms in the FilipinoMartial Arts. Every style ofFMA has their own patternssome with simple versionsof single had to single handothers with multiple repeatsand intricate patterns thatmust be memorized.Sinawali means to weaveand it's based on the wovenroofs of the Philippines: theWALI. But more importantlySinawali can also be theability to weave one's selfthrough space, the use ofdistance and timing woventogether and the weaving ofcadence and rhythm of one'sattack or defense. Sinawalican be the ability to weaveone's body over a distanceto accentuate the actualclear zone of one's armswhile using double weaponsor double tools.
Weapons Masters
“Bram, you must stepAND body shift.
It is the body shiftingthat is important. You are no longer
there!”Professor Presas
weaving or the art of Sinawali. The ideaof actually moving one's body and bodyshifting has never entered their thoughtsor ideas. Professor Presas used to tellme all the time “Bram, you must stepAND body shift. It is the body shiftingthat is important. You are no longerthere!” Weave: \ wev: to form byinterlacing, to interlace forms, to make asif by weaving together parts, to move in
a winding or zigzag course especially toavoid obstacles. A pattern or method ofweaving Sinawali, the conceptualstructured weaving of the arms is usuallyperceived as a single entity known as theHeaven and Earth 6 count or High LowHigh. It is sometimes the only version orthe most common version learned,taught and used by the majority ofFilipino martial artists. Most people get
confused because the generic meaningto most of the people learning Sinawali isnot only Heaven earth 6 but it is aDouble Sinawali with both arms insynchronous motion. Because HLH orHeaven 6 is based on the simplest grossmotor skill of weaving both of one's armsit becomes the most commonly referredto way of expressing Sinawali. Heavenand Earth starts out with a High line
attack, (Open to close), a low lineattack (close to open) and a Highline attack (close to open withretraction movement). The initialattack is a highline motion withnothing in its way. Because thelow line attack is from under theinitial attack it's easy toaccomplish without bumping orrunning into one's own arms. Thefinal attack comes over the lowline following the line of theretracting arm and again there isnothing in the way of the attack.This by default becomes thestandard of definition of Sinawali.Sinawali actually exists in amultitude of versions and skillsets. The fundamentalconceptual use or root motion ofall Sinawali is of course the abilityto open and close one's arms.The base version of weavingone's arms is really SingleSinawali not Double Sinawali. Allthe versions of Single Sinawalimake use of one arm at a time;each making High -Low rotationbefore the other arm replicatesthat motion, alternating armsafter each full rotation. The actual base or
foundation set of SingleSinawali is called Simple SingleSinawali or a two count motion.The arms make an outside toinside High line attack and thena close to open Low line attackwith a final retraction back tothe open position. The nextprogression is Simple Sinawaliwhich is a three count motion.Most people have this confusedwith Simple Single Sinawali butit exists as subtly differentseparate skill set. Single Sinawali is a three
count movement preparing theuser for double Sinawali. Theset consists of a High l ineattack (open to close) a low lineattack (close to open) and afollow up High line attack (closeto open) with a retraction of thefinal attack. What follows nextin the progression is a return toSimple Single Sinawali but thistime with a fold: High l ineattack (open to close) and a lowline attack (close to open) andthe subtle difference here isthat the next High line attack
comes over the non retracted low lineattack, which as the body rotates,folds under the new high line attack.As one turns to strike the second highline attack forces bio mechanically aretraction of one's low line strike toone's hip. This forces anunderstanding of body shifting andpositioning of one's arms in relation toone's body. Since the Low line arm is folded
under the High line attack alongsidethe body, one is forced to learn toclear and retract the Low line armas the alternate arm forms its ownlow line attack, and the folded armmoves from being the previous Lowline to the current High l ine.Cadence: ca-dence\ kad-ns: themeasure or beat of a rhythmicalflow: rhythm: Measure: rhythmicstructure or movement Cadence isimportant and usually that is thebiggest problem with any Sinawaliinvolving a fold or retraction. Theusual cadence is as follows: Strikehigh then strike low, fold, then strikehigh, strike low and clear the lowline arm to be ready for the nexthigh line strike. Advanced studentsthink they have accomplished ahigh level of expertise if they strikehigh then low and clear from thelow line simultaneously as theystrike low: it's a great scissoringeffect. Unfortunately this combinedsimultaneous motion only lookscool and this is incorrect and evenadvanced students clang theirsticks on their own sticks or intotheir partners or opponents. The proper cadence is strike
High, strike low, FOLD, Clear lowline, Strike low line, FOLD, strikeHigh line, clear low line, strike lowline…FOLD and start over. This is asubtle difference but it is important:if one clears one's own weaponfrom the low line position BEFOREstriking low with the opposite hand,there is no possibility to run intoone's own stick or one's partner orattacker. By clearing the low linestrike before striking Low line withthe opposite hand, one is also setup for any aborted motion, neededcounter attack or insertion of one'sstick within combative flow. The clearing motion is always
upon the high line attack becausethe low line path is clear. Just asthere is a Simple Single Sinawaliwith a fold there is a Single Sinawaliwith a fold. The motion is High, Low,High, with a retraction of the lasthigh line attack back to the closedposition accompanying the clearingof the low line to the start position ofhigh line. It is only a single step awayfrom Double Sinawali. In SingleSinawali there are two High linepositions so there is the possibility of
clearing the low line on either the first orsecond beat of the single Sinawali. Withthe first strike one is at a High position,then one strikes low and then onefinishes with a high strike. The act of rotation of one's body to
clear the tool to strike with the otherhand, hand linked to hip by motion ofpulling: gives rise to the next stage of
actually folding within the motion ofSingle Sinawali. If one was folding thenafter the hip pulls ones strike into one'sbody and one strikes high over it: atthis point one can clear the low zone,then strike low...or one could strikehigh, strike low and upon striking highclear the low line. The basic idea ofone can always clear one's low strike
Weapons Masters
safely if ones other hand is in a highstrike position; one cannot get boundup or trapped or run into one's owntools because as I like to say “theintersection is clear of traffic”. At this point in weaving one is
actually weaving through space,weaving one's body rather than onesarms. Sinawali is a multi leveled
concept: it exists in 3D. Sinawali forcesa recognition and use of stepping,body rotation based on hip rotationand body shifting: all of which enableone to weave one's own arms withouthitting one's own hands or arms and tomeet and respond to a complex attackfrom other perspectives. Weavingthrough space is like bobbing and
weaving in boxing: the liner aspect ofthe use of one's hands are meldedwith the ability to cross and twist thecenter line of attack and this circularmotion through space, the use onother planes of attack adds the 3D toboxing. Sinawali with body shifting andhip rotation adds the 3D to Sinawaliand the use of one's hands.
“It's the art of bodyshifting as one
weaves that actuallyallows for Sinawali to
be used in combatwithout trapping
one's self or cuttingor hitting one's own
arms and hands. This is what allFilipino Martial
Artists”
By actually moving one's hips androtating as one does Sinawali, one isweaving one's own body throughspace: this weaving is actually clearingone's own weapons hand from thepath of the next strike or motion.Simple Single Sinawali and SingleSinawali both have a hand to hiprelationship: if one pivots and one'shand follows ones hip the hand isautomatically pulled through space toa clear zone: no need to wave orweave one's arms. One is constantlybringing one's body up to one's handor one's body back away from one'shands rather than the act of weavingones hands away from one's body NOTE: Single Sinawali with a fold is
one hand doing Double Sinawali. InDouble Sinawali we substitute onehand for the other in an alternating
flow pattern. But the conceptualstriking is no different in Single armsinawali or double arm Sinawali. Westi l l have high l ine open, low l ineclosed, High line open and then reset:whether it is one arm or two. Sinawalican be done from a Closed positionrather than an Open position. The hipshift again as in Open sets up the"fold": which is easier as one bringsone body through space to the handsrather than waving ones hands nspace. Weaving / waving ones armsmeans at some point one's arms arecrossed or in a trapped position, If thefold / and or under position is ONLY apoint of perspective due to hip rotationrather than an actual placement, onecannot be trapped. It is because of thistrapping or being trapped that many"fighters" refuse to deal with Sinawali:
Why put yourself in a tangled ortrapped position where the bad guycan strike you without being counteredbecause you put yourself into a knot.In reality one moves around in spaceactually freeing the striking lines andactually keeps both hands on separatepaths that never crash into each otheror overlap. It's the art of body shifting as one
weaves that actually al lows forSinawali to be used in combat withouttrapping one's self or cutting or hittingone's own arms and hands. This iswhat all Filipino Martial Artists want toachieve is the seamless melding ofbody motion, stepping and the use ofboth arm and hands in a realcombative application rather than thedry stilted drills commonly known asSinawali.
March 2015, first edition of IMBA World Day!
Martial artists from Australia, Italy,Poland, Greece, Switzerland, Finland,Austria, England, USA, Mexico,Colombia, Brasil, Peru, Ecuador allunited under the same banner joinedhands virtually on the same day: 7thMarch 2015. They all belong to thesame martial family, the InternationalMuay Boran Academy, and they allpractice an ancient fighting stylecreated in Thailand: the traditional Artof Muay Thai Boran.
For the first t ime many of theschools that form the backbone of theInternational Academy from all overthe world joined the same event,IMBA World Day 2015. Each academychose a personal way to be part ofthat special day: a seminar onCombat Muay Boran core techniques(Chern Muay), a Thai Close Combat(IMBA Muay Lert Rit) master class, acompetition (Muay Kard Chiek), aKhan grading session. Each Khrumust be very proud of his studentsand his fellow teachers!
Hundreds of Muay Boraninstructors and students sharing thesame passion under the same flag onthe very same day in four continents:IMBA World Day's first edition was ahuge success that we all hope willbecome a custom for all Muay Boranenthusiasts.
Special thanks to the followingIMBA Khru:
Perez Hernandez, Ramos, Esparza,Duran, Bomfim, Texeira Santos, Vega,Sirignano, Antonelli, Crauso, Sansaro,Vallone, Queirolo, Frattini, Paolucci, DiIennio, Cecchini, La Ratta, Savini,Farati, Saudino, Donato, Ferrise,Giganti, Petris, Cipriani, Bacchi,Macchi, Petracca, Palmieri, Cosimi,Minieri, Falaye, Dobler, Droux,Gkitsas, Danowski, Majander,Radulescu, Courtial, Quaglia.
Muay Boran
All DVDs, wichi is produced by BudoInternational, si provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivX or thelike is however neves offered with a specialholograma sticker. Besides our DVD ischaracteristed coverings by the hig quality inpressure and material. If this DVD and/or theDVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.
REF.: • FUSHIH-2REF.: • FUSHIH-2
This new work on Fu-Shih Kenpo by Soke RaulGutierrez is centered on the traditional forms ofthe style, their applications and self defence. Wewill have a deeper insight into the form "The TigerDefends Himself", with each of the correspondingtechnical applications, the form "Tiger Teeth",
and a special work on weapons. Then theMaster will explain in detail the
extense series of advancetechniques on self defence,indicating the whys of certainmovements, the necesaryprecautions to take intoaccount, possible anglesand the variations thatcould be applied ineach technical group.The DVD completesitself with a series ofcombat techniquesfor competition andconditioning work.where MasterGutierrez explainshow to prepareoneself physicallywith the use ofweapons, arms and legconditioning, selfdefence preparation and
for combat. Without anydoubt this work is rich in
knowledge based on theexchange and coordination of
different styles and how to learnto respect the differences from each
source of works.
Budo international.comORDERS:
STUDIES ON COMBAT
"The Raúl Gutiérrez column"
There are several forms and levels ofcombat. The simple fact of dealing withthe problems and generally unexpectedevents of dai ly l i fe, as well as theconstant attempts to change for thebetter, are also a form of combat.Currently, professionals, experts orspecialists in the field of combat sports,martial arts and street f ighting havedeveloped through their own experiencevaried and different concepts, principles orstudies on "the Combat".On our day-to-day and throughout our
lives, we all learn gradually to developourselves in all those aspects and waysthat move us in our existence. So at theend, when we reach maturity, we willhave gained a real understanding andsensitivity according to the realities ofour own being.
Great Masters
So it's good to know how to educate both our children and our students. Butthis ability to educate will also be based on our own experiences, knowledge,education, age or genetic antiquity. It's not enough to just having acquired adegree or a title "X," or that we have become "fathers", to take for granted thatwe are already "EDUCATORS" or even simple trainers. It will be then necessaryto have the due sensitivity and the appropriate experience to know how to
direct the instruction that should be given individually, rather than ingroups, to each child or student; or competitor.
Regarding the sports part, it has several nuances. On one sideis the part of physical training, which also drags with it somementalization about it. What does this mean? Well, like allsports, dedication to the physical aspects and theirvarious training methods should be conductedthoroughly. Not enough to say, "I have the best coach",which is very important thing, of course. But "now",the one who must be equal to or even better thanhis coach, instructor or Master, is "oneself".Physical effort, discipline, persistence andperseverance, implicitly carry with them a bigdeal of "mental" concentration, goal setting,will and self-sacrifice, making up one's mindto be, if not the best, one of the best. I havemet and I keep meeting people from differentparts of the world that often tell me: "How canyou do so many things every day, week and
month year after year? How can you keepmoving around non-stop?" Many think I'm a
millionaire. If they only knew that my true wealth isthat my life has not been easy... And it was precisely
this that turned me into what I am. In other words, and asthe old saying goes: "Adversity is the best Master". Withadversity you can become a person better or worse.Fortunately, from my early childhood, I always wanted tobecome a good person. And I hope I’ll have succeeded inthis before I die.
After preparing our body and our arsenal, we must beclear about which are our objectives and, and, in searchingthem,, analyze where we are failing and what we still haveto improve. I am one of those who, even having won astreet encounter or a sports event, I always think I couldhave done it better. Concerning the street, I could haveprevented the fight, or at least caused less damage to theopponent. In sports I know I have better conditions andcapacity. I can't forget or ignore that at the moment oftruth, the nervous system can play us a trick and the leastone can say is "I could have done it better." The worst, inthe case of having been defeated, would be saying "Ishould have trained more".
We should be able to distinguish the different types oftournament fighters that exist today, in order to set ourstrategies and achieve victory, however difficult mayour opponent be. That is, having a first-rate physicalcondition and a good arsenal of technical elementsat our disposal is not enough, we must alsoanalyze during the first 30 seconds "the way ouropponent breathes". Many competitors get intothe fighting area like a devastating tsunami in anattempt to wipe out their opponent in those first30 seconds. If you manage to succeed,"BRAVO!", but most likely you will not and,what is worse, you will have exhausted your"physical" resources, which is paramount; fromthen on, your mind won't be able to keeptelling you "Up, up, go ahead, you can!”,
because your nervous system and your physical waste will say "no".This brings to my mind the old joke of the wrestler who,after 3 or 4 rounds receiving a severe punishment fromhis opponent, asks his coach: “Hey, what's the
score...?” And the trainer, who has been trying toencourage him throughout the fight, replies:"Well, if you kill him, we get a draw."
There are competitors known as"Swarmers", with a great for physicalendurance capacity to absorb punishmentfrom their opponents. They can takeincreasing amounts of punishment andkeep going ... They can get to wear downthe opponent or even intimidate himwhen he feels his strength abandonshim. Others are of linear characterestablishing a steady advance in astraight line and always withdraw whenyou attack. And others move in circles,i.e., they are always dancing around you.They are always breaking angles anddestabilizing your attacks. It's a goodstrategy to fight!
We also have those who expect our actions to carry outtheir reactions. They intercept us. Sometimes they recede,but, curiously enough, attacking.And of course, there are those with a great experience,
who know it all and provoke us making us believe what isnot and thus lead us to their field. "Wisdom comes with age."In any case, sparring is a type of training and it proves that,at moment of truth, it must be like chess ... In other words,we must use our head rather than our body, mainlybecause the physical and technical side is already atyour command. As I say, if I want to show myabdominal muscles, I just train and once I havethem developed, they are already mine to show
them off, all I have to do is tensing them and therethey are.
The AttackThe objective in full contact meetings is to be
effective; it must be achieved through a job thatallows progress without causing serious injury.Different exercises should provide the student themaximum of technical resources and theappropriate feeling that permits him grasp thedistance of the target and its mobility, anddevelop the strength of the impact with aneffective and, if possible, definitetechnique.
Other important aspects to beachieved are acquiring the ability tocombine these techniques in the properway, because the opponent not alwayswill fall at the first blow. Learning to hit on two levels, with
simultaneous techniques of differenttrajectory, and even at three levels, whichleads to open an attacking point. Avoiding "telegraphing" the attack by
making it faster than the human eye, whichwill prevent the defense. Nonetheless,telegraphing a blow can be sometimes a
good tactic to fool the opponent, as well as the waywe set our guard with the position of our feet and ourhands. We can incite our rival with our guard, offeringhim flanks that we know in all likelihood he is goingto attack. But our real intention is that he does that,because we'll be waiting for him.
Searching the opening of the essential point thatwill be decisive, "touching" other key points todivert attention... it is the great feature of thesublime and ultimate art of touching the vitalpoints!
The Defense ConceptIt's necessary for the student to realize what ablow is and get the feel of being hit, without thisrepresenting real danger for his physicalintegrity, but allowing him to know what wouldbe the effect and consequences of theseimpacts in combat. Not to talk about reallife... in other words, street encounters!
He must also avoid the vice of the falsesecurity that provides a defense and acounterattack without the opponentreacting. That is, he has to know thefeeling of being in front of anopponent that can react moving
“After preparing our body and our arsenal,
we must be clearabout which areour objectives.”
forcefully and aggressively andreach him if he doesn't doanything to stop him or hetrusts excessively in that falsesecurity. This is very important.Generally, we work out on a falsebasis in which our training partner willnever really attack us and, as it's thecase in most of the training sessions inschools and gyms, he won't even react.He will just restrict himself to receive ourtechniques, and allow us to display our chainsof attacks.Another thing to be prevented is the sensation of
running away or detaching from the opponentallowing a longer way for his movements which willgreatly boost the power of his blows, that is, lettingdistances that allow his reaction in counterattack. Ifwe give him space, we will also give him theopportunity to clearly see our points, rearrangehimself and he will also have the distance to usehis various weapons. If we get into his perimeterand we continue attacking forward, we'll force himto withdraw out of balance, thereby losingstrength in his cons and lacking vision. Apart fromthe punishment that at the same time he may bereceiving, we must keep his body and his mindbusy.It must be understood that the best defense is
attacking, although this might seem to go againstthe principle of non-violence of the art of theempty hand.
Testing yourselfThere are three ways to test our
efficiency. First the air, second theequipment and third the man. In theair we develop coordination, speed,fluidity, balance, accuracy, etc. Theequipment can be bags, paos,mittens or protections. Andfinally, it wil l be youropponent, who moves,defends and counter-attacks.
Kenpo
“Manycompetitorsrush into the
fightbreaking
and crushingin an attemptto wipe out
their opponentin those first30 seconds. If you manageto succeed,"BRAVO!",
but most likelyyou will not.”
All DVDs, wichi is produced byBudo International, si provided andalone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like ishowever neves offered with aspecial holograma sticker. Besidesour DVD is characteristed coveringsby the hig quality in pressure andmaterial. If this DVD and/or the DVDcovering do not corespond to therequirements specified above, itconcerns illegal pirat copy.
REF.: • LEVIREF.: • LEVI8
Budo international.comORDERS:
As Modern Martial Arts has brought Grappling into the limelight, it is imperative that theMartial Artist also prepares for this eventuality. With any martial endeavor, maximizing yourpotential while minimizing output is the quintessential goal. Kyusho assists in this goal farfaster, easier and more efficiently than other concepts. Again, knowing the weaker anatomicalstructures of the opponent and automatic responses to them not only gives the Kyushopractitioner an edge of surprise and efficiency, but also in strategical aspects as well.From the standing clinch, the takedowns and controls… even to the submission work, every
component of Grappling is prime territory for this knowledge and skill. With the wideplacement of all the pressure points there is always a possible target available, so no matterwhat situation you have your opponent in, or worse, that they have you in, there is a solutionto give you the advantage, and one that also does not give your opponent the capability toknow what or where you will be targeting.
Kyusho
Evan Pantazi© www.budointernational.com
Text: Photos:
Vital Points applied to Grappling
“The spontaneity and ability to flowwith the opponent while seeking and
targeting the nerves will takecooperation in the beginning,
but eventually you will be able tosucceed even while your training
partner tries to resist yourattempts”.
et’s take it to the clinch where manyreal fights as well as competitionsstart, where both fighters are standingand fighting for position, balance andadvantage. As many people areaware (especially trained fighters) of
throws, sweeps and sacrifice moves, they aremaneuvering to feel and offset them. Theyhave developed a natural feel for them and mayeven possess superior size, strength and/orendurance! The equalizer to all of these isproper knowledge and training in Kyusho.While the opponent is feeling and moving withyou, their mind and intention is to look for theopportunity where you are vulnerable in balanceand/or position. They pay little attention towhat or where your hands are as theyseemingly pose no threat. They do not foreseethat with a twist of the wrist you can target theirelbows’ Golgi Tendon Body that wil lneurologically weaken their entire body as itmoves in response to their own nervous systemrather than with their control of mind andthoughts. Their body will automatically andinstantly respond to you and not to them, andhow valuable is that in conflict? By quickly andefficiently locking out their elbow and easilytransferring their balance without their ability tocontrol it, you have gained the entry, position ortakedown… but this is only a beginning!
Once felled, you move into perhaps a sidearm bar, but they are familiar with this frompractice and able to work with it, that is, untilyou again press L-8 on their wrist weakeningtheir arm, sending pain into them, which alterstheir mindset to withdrawal or throws it intoprotective mode rather than mounting acounter. Before they know it they aresubmitting, but not from the arm bar they werelast thinking about, but from the pain anddysfunction from a body or head point you havealso employed. Rolling from point to point, youhave not only taken charge of the physical, butalso the mental, and in doing so rendered theirspirit confused. This is because the attacks notonly come from you, but are felt inside, causinginvoluntary reactions to your initiatives.
The nerves of the body will yield predictableresults and for the Martial Artist trained withthem, it is not always the younger, faster, betterconditioned individual that has an unevenadvantage. They can flow from control toescape to submission by connecting a series ofavailable targets that they can also make
L
1. When mounted, it is easy to pull the opponent inusing the Kyusho points of the arms.2/3. If the opponent then gets a tightly clenched
position, body points are difficult to access, buthead points like TW-17 can weaken their grip.4/5. Kyusho targets always expose and weaken
more points for use, like ST-9, to continue yourescape or counter.6/7. We can then gain control and pin them using
other points like the Mental Nerve.
“The nerves of the body will yieldpredictable results and for the
Martial Artist trained with them,it is not always the younger, faster,better conditioned individual that has
an uneven advantage”.
available and predict. Or if the opponent wasskilled enough to recover and mount a counter,you can easily offset this again and again. Bymerely knowing where these targets arevulnerable and how the opponent will reactphysically to each target, you can plan astrategy, maneuvering them from position toposition without letting them regain theirbalance, base or composure.
We have studied several of the nerve targetsso far, as well as the myriad of possibilities, nowthere are new skills to manage and realize and ineffect bring us to new levels of skil l andcapability by training these concepts in regard tothe targets. Taking the dysfunctional aspects ofeach point will especially need to be consideredwhile the opponent is entangled with you. Thisis because felling them with a point in such away that they will drag you down with themneeds to be avoided. How and where they willfall, roll or jump will now need more scrutiny foryour safety as well as advantage. It becomes farmore important now to understand which pointswill cause the opponent to arch back andexpand their limbs as well as which ones willcontract and collapse them, as they areconnected to you more intensely and arestruggling to gain a balance or position.
This will also enable you to learn to open orclose their body movements, but moreimportantly, how to open new targets for youruse. If, for example, your opponent has a tight,two-handed hold on you, their arms and all theirfrontal body muscles are now condensed andbunched so that these nerve structures in themare hidden or buffered from attack. The back,head and in some cases the legs (depending onstanding or ground position), will be the onlyaccessible points. By attacking the possibletargets correctly, it will open the frontal targetsfor further use. This concept is a dynamic andconstantly changing challenge when grappling,especially on the ground. But by sufficientlytraining, it becomes easier and also improves thepractit ioner’s skil ls in al l prior levels ofunderstanding. From the recognition of openand viable targets, to the ever-changingdynamics of human motion, even targetaccessibility, especially under stress, makes thisa very intense and demanding level in ourstudies.
This also brings another new skill very muchinto the forefront, that being the tactile sense andlocation of points. When grappling, you are notusually able to have a large window of sight—
“Taking thedysfunctional
aspects of eachpoint will especially
need to beconsidered whilethe opponent is
entangled with you.This is because
felling them with apoint in such a waythat they will dragyou down with
them needs to beavoided”.
90% of the opponent’s body will be hidden—and so it is that developing the tactile isolation ofpoints is now brought to the forefront. As weknow from prior study, the points are always inthe valleys between body structures of bone,tendon and muscle. As you grapple andmaintain contact with the opponent, your handswill naturally fall into these valleys. By now,learning to feel your way to the targets gives youan even more thorough knowledge and feel forthem as well as improving all prior levels ofstudy. Anytime you can enhance yourunderstanding of any aspect in your training itwill exponentially increase your capabilities andeven future possibilities. Gaining this insight andskill will make all your current techniques better.
Now add to this the increased pain that isimparted to the opponent as a result of using thenerves (the pain receptors in the body) to attackthe internal mechanisms. This escalation in painthat a person is not typically exposed to is verydisarming and confusing due to its unfamiliarity.This pain not only registers locally as a typicalexternal attack, but a deeply penetrating andtraveling type of pain that can even disperse toseveral areas inside the body. This is typical ofsingle point manipulation, but as you get betterwith targeting in a grappling situation, multipletargets will also avail themselves. By utilizingmultiple points, the painful feeling of electrical
“Escaping is byfar one of themore importantaspects of Kyushoin Grappling, whenthe opponent has theadvantage, whether it isfrom a superior mountedposition or from the sideor rear, and strength,balance and basing arenot always available”.
shock can also be sometimes induced, which caneither travel in a direct path or else on some nervecombinations, shaking the entire body from withinas if you stuck your finger in an electrical outlet.Now, not only is there unfamiliar pain, but for mostpeople experiencing this sensation, there is alsodisbelief and even fear.
When you employ these nerve attacksconsistently and all over the opponent with everytouch or maneuver, they begin to getapprehensive or begin to flinch at every move.This will keep them on edge and on the defensiverather than clearly on the offensive and thereforeless capable of employing their own strategy.This adds to their already new ground ofunfamiliar behavior and method, giving you theadvantage of surprise and l ingeringapprehensions in your opponent. It can, in somecases, get the opponent into such a state thatevery move you make is perceived by them as aKyusho attack. But, as we know, the human bodycan get used to virtually anything over time andadapt to preserve its stasis. If you do continue toattack with each move on a nerve, they willeventually get used to it and adapt, and you willlose your edge and possibly turn the surprise totheir advantage. So keeping the Kyushomanipulations sporadic, with broken rhythm andintensity, will keep this edge in your favor. This isa valuable key in all endeavors that you shouldtake to heart, as Miyamoto Musashi consistentlystated in his classic on martial strategy, The Bookof Five Rings, “Study this well.”
This technical ability to access the nerves andinduce all of the previously mentioned maladiesmakes submissions not only quicker and easier,but is also useful in many more unexpectedpositions and places. You can achieve asubmission quickly through pain and dysfunctionon every area of the body, it all depends on whatyou can get or on what position you havemaneuvered your opponent into. Kyusho skill willalso allow you to counter any efforts to resistlocks or submissions. For example, if you wereapplying an Achilles tendon ankle lock, an easyway to resist this is to simply flex your foot backto tighten and stiffen the tendon so that the Golgibody and underlying nerve are now protected.However, this in turn can also be countered byattacking a point further up on the opponent’s legcausing a dysfunction and relaxation of themuscles and tendons in the entire leg, thusallowing you access to both the Golgi Body andunderlying nerve… and consequentially thesubmission from pain.
“Knowing key physicalidiosyncrasies of thehuman body will add
immeasurable value toyour personal arsenalas well. Knowing,
for example, that themore strength youuse in the arms,
the weaker the nervesin the head become,
is invaluable”.
Escaping is by far one of themore important aspects of Kyushoin Grappling, when the opponenthas the advantage, whether it isfrom a superior mounted positionor from the side or rear, andstrength, balance and basing arenot always available. But withKyusho, by merely pressing,poking, rubbing and even tappingpoints you can force the opponentinto a predictable and involuntaryreaction giving you a second ofopportunity to maneuver to a betterposition. Through a single or stringof successive shocks with theirtemporary dysfunctional reactions,it is possible to keep the opponentdefensive and thus gain yoursuperior position or submission.This is not to say that Kyusho is aperfect method, this will always liein the skil l and abil ity of theindividual to use on their opponent.If your skill is far less than youropponent, the chances of yougetting to the nerve points will bediminished and therefore unusable.It wil l always depend on thetraining of the individual as towhether or not they can use thesenew and sharper weapons.
In grappling, the quickness andsurprise involved in properlyactivating a nerve is imperative. Itis different having another personattached to you when activatingthe targets, rather than with priorlevels where you were the attachedperson with vibration, ballistic orcompression methods. The effectsof grounding and energetics nowbecome even more important thanfirst shown in prior levels, becausenow when the opponent grabs youwith intention, there is an additionaltransfer of their body energy intoyours. This not only grounds theirenergy, but it goes through you aswell, reducing your body’sfunctions and possibilities. Butsince strength and speed are notnecessary you can reverse thisintention with a single attack on an
“When you employ these nerveattacks consistently and allover the opponent with everytouch or maneuver, they beginto get apprehensive or begin to
flinch at every move”.
“When a person’s nerves aresharply manipulated,
the impulse converges to thebrain for analysis and thendiverges for reflexive action
to protect itself”.
available nerve. This occurs, for example, when a person’s nerves are sharply manipulated,the impulse converges to the brain for analysis and then diverges for reflexive action toprotect itself. This causes all of the energy the opponent was transferring into you to be usedin contraction or expansion of these reactionary motions.
Knowing key physical idiosyncrasies of the human body will add immeasurable value toyour personal arsenal as well. Knowing, for example, that the more strength you use in thearms, the weaker the nerves in the head become, is invaluable. As when your opponentgrabs you, they will most assuredly use strength to secure and overwhelm you, and thisaction will need a tightening of the arm, shoulder, chest and other supportive muscle groups.This contraction of these muscles involves nerves to activate the muscle into this state, whichin turn will weaken (making them more sensitive) the nerves of the head and neck sincestretching and extra neurological activity is eminent. Now, in turn, everything has an equaland opposite reaction, so by attacking the nerves of the head, you in turn weaken the arms.Taking a simple side arm bar as an example, if your opponent grabs his arm with his other to
fight the arm bar, this will make the points of the head very sensitive. To quickly weakentheir arm and break the grip, simply press your heel to the nerve behind the hinge of the
jaw (TW-17), the pain is not only excruciating, but the arm will completely weaken andrelease the grip.
After getting comfortable withall your locks, submissions,
escapes, etc., thepractitioner must experiencegrappling to attunethemselves and make theknowledge a real skill. The
spontaneity and ability toflow with the opponent while
seeking and targeting thenerves will take cooperation in
the beginning, but eventually youwill be able to succeed even while your
training partner tries to resist your attempts.Once you can comfortably get past even yourexpectant and resistant partners, you have honedyour skills to a high degree, but as always there ismore work to do.
If you think this is a lifetime of study involvedyou are right, but by proper training it all comesnaturally. You must be patient in your quest asKyusho Grappling will escalate you to newheights of point location, acquisit ion andmanipulation, but also enable you to attack the
opponent on not just a physical level, but mental,and even weaken their spirit… all with strategy.
Isn’t this the higher levels that all Martial “Artists”aspire to?
This was the first time that this Grand Masterand living legend of Kenpo visited the studios of
Budo International and recorded a video forus.
Huk Planas is a friendly and nice personwith a quiet slyness. Speaking with him isa real pleasure. Generous in his talks, hegranted us an exclusive interview in whichhe entered interesting details of the historyof Kenpo and Ed Parker himself, which willsurely delight the fans of the genre.
Carlos Jódar & Ingmar JohanssonMamiko Onoda
© www.budointernational.comPhotosTranscript:
Text:
Ed Parker’s Kenpo
“I was around EdParker and
I was around BruceLee but never sawthem together,
at least not talkingabout Kenpo”.
Budo International: How did you startmartial arts and how did you get intoKenpo?R.P: Back in the sixties I was working as a
musician but one day my friend and I weredriving around (Fresno, California, where Icome from) and we passed by a karateschool where they taught Kenpo. My frienddecided to try it out but I refused to becauseI didn’t want to mess up my hands. Aftersome time my friend asked me to go down tothe school because he was going to have agraduation. I didn’t know where we wereheading to, I knew very little about karateschools. He took me to a Kenpo schoolwhere I saw some friends of mine, who werealso musicians, training and convinced methat my hands were not going to suffer anydamage from Kenpo. So they talked me intoit and that’s how I started.
B.I.: Who were the instructors in thisschool at the time?R.P: Tom Kelly who was a first degree
black belt and Steve Labounty who was asecond degree black belt. They were themain instructors at the time.
B.I.: When did you first meet Ed Parker? R.P: Every year, Tom and Steve would
organize a tournament and would invite Mr.Parker. Ed Parker used to hand outcertificates in promotional dinners and I firstmet him in one of these dinners.
B.I.: What’s Kenpo in a few words?R.P: I always say Kenpo is a set of rules
and principles of motion. You have to studythem and you have to understand why wemove this way or the other. We, as teachers,want questions even if in some school theydon’t allow questions.
B.I.: What qualities do you think areimportant to be a good Kenpo instructor?R.P: Understanding what Kenpo is, its
rules, power principles and motion makingsure you use them. It’s not magic, it takes alot of effort to stop somebody in a fight thatstarted in the first place, that’s why it’s calledself-defense. You have to finish what youhave You have to be a good student beforeyou become a good instructor. All the peoplethat teach say the same thing: “Your best
Ed Parker’s Kenpo
students are the ones who will become the next teachers and the onesthat carry the system on”.
B.I.: Can you recall any anecdote/episode with Ed Parker or one ofhis quotes that you like in particular?R.P: What’s useless and what’s useful only comes with time,
experience and logic. It takes time to come to a conclusion on your own.
What I tell people is that you’re going to change your mind many times;perhaps you think something is good and logical but with time you mayrealize you were wrong.
Ed Parker’s Kenpo
B.I.: Did Bruce Lee have any influence on EdParker and therefore on Kenpo?R.P: I can only presume, and I think so. The old man
talked with Bruce and I see that some of the thingsBruce did, we do too. I was around Ed Parker and Iwas around Bruce Lee but never saw them together, atleast not talking about Kenpo.
B.I.: What’s the main problem today in Kenpo andwhat do you think about its future?R.P: The main problems in Kenpo, I think, are
qualified instructors. There are many people teachingor that were forced into it or that have been put in thatsituation and really they don’t know enough aboutKenpo and they just teach what they are told to. Ithappens worldwide
B.I.: What parts of the program are written butnot needed/necessary? R.P: What is not necessary is simple: what is not
useful. Everything should be useful or be teaching yousomething. If it’s just “busy work” (things that you’reteaching but are not really useful and you’re justteaching them to keep the student busy) it’s notproductive. With this I go back to what I said aboutbeing able to distinguish between something that isuseful and useless and that only comes with time,experience and logic.
B.I.: Does that include the extensions, as uselessmaterial? R.P: I don’t like extensions, never liked them. When
we teach a technique with 7-10 moves and they askyou what they are supposed to do after that I don’tthink that student has learned very much. A lot ofthese extensions we wrote (orange and up to halfpurple), originally, it was only category completion.
B.I.: What do you mean when you say categorycompletion? R.P: It’s really simple. We take a move, a strike
pattern, anything and show you all possible ways touse it from different angles (vertical, horizontal,diagonal…). Once you do that, the category iscomplete
B.I.: So, you wouldn’t spend much time on theseextensions, right?
Interview
“There are many liarsout there that claimto have trained withMr. Parker. People
have seen me with theold man working withhim and writing down
the system”.
Ed Parker’s Kenpo
R.P: Like I tell my students, make up your ownextensions because when it comes to a fight andyou’ve applied techniques you know but youropponent is still standing ready to fight again, it’sgoing to be only you and him so you’ll have to beready to improvise and come out with something onyour own and make it work. Mr. Parker used to telleverybody all the time that if a person knew longform four– and fully understood what’s in it, hewould hang a black belt any day on that person.There’s a lot of “busy work” in the system to keeppeople doing something and to keep them paying
for the karate school. People don’t want to acceptthat at the end of the day a karate school is also abusiness. Every system is “guilty” of that becausepeople make a living out of it. .B.I.: There are many different ways you can do
one technique; do you think they are allacceptable?R.P: In the old days there were many variations of
a single technique and there was A, B, C, D, E, Fand G and sometimes even up to H or I. However,like I said, Kenpo is a set of rules. All I do is go
around the world correctingpeople because maybe theinstructor didn’t learn the rules inthe first place. Ed Parker onlytaught thirty-five black belts andvery few of them are there stillteaching. It takes a long time totrain qualified instructors. But aslong as those variations aren’tbreaking any rule or/and principleof motion they are ok.
B.I.: Do you believe Kenpohas changed from the sixties to
the nineties? If so, how has itchanged? Anything new added?R.P: I don’t think anything of
value has been added. There’snothing new that wasn’t writtendown already. Perhaps some newextensions have been added.
B.I.: Who created long form 7and 8 and what do you thinkabout them? R.P: It doesn’t matter who
made it up. First of al l , i fextensions were really necessary
they would have beenwritten forty years ago likethe rest of the stuff was.Kenpo is not a weaponsystem. Weapons andweapons principles aredifferent from empty handsrules and people who trainin real weapon systemsthey look at the forms andlaugh. What I tell people isthat if they want to studyweapon they should studyweapon systems.
B.I.: In your opinion,what sets are importantto teach and why? R.P: Anything that has
value is important to teachso if that set is legitimate
Ed Parker’s Kenpo
and you can get something valuable out of it, thenfine. Otherwise it’s just “busy work”.
B.I.: Why did Mr. Parker always refer to Kenpoas American Kenpo?R.P: I don’t remember Ed Parker ever using the
term “American Kenpo”. Both Kenpo and karate areoriental terms. Originally, it was called HawaiianKenpo or Polynesian Kenpo because it was puttogether in Hawaii and when Hawaii became a stateof the United States it started been called“American Kenpo”. If China were made a state,kung-fu would be American too but it wouldn’tbecause it’s Chinese. But, like I said, I never heardMr. Parker referring to Kenpo as American Kenpo.Other people did because of those reasons.
B.I.: How did Kenpo started to be written with“n” and not “m” (as in Kempo)?R.P: There are many different stories. I once heard
that it was a mistyped word in an article in aHawaiian newspaper and it was left like that. I alsoheard that it was to spell it differently from theJapanese (both karate and Kenpo are Japaneseterms).
B.I.: A lot of people feel that “karate” shouldnot be part of the name of our system as wedon’t really do karate. Does that have anyhistorical reason, background?R.P: You’re using the term everybody knows and
understands although when Mr. Parker first put up asign of “karate” in the front of his school everybodythought it was a Mexican restaurant! It’s a genericterm to use. if you’re speaking to someone whoknows about Kenpo karate you just say Kenpo.
B.I.: After a student is examined to achieve thenext belt, he receives the promotional kick fromthe instructor. What does that symbolize? R.P: In English there are many expressions using
the term to kick such as “to be kicked up in a job”,“to get kicked/booted up in a position”. I like whatMr. Parker used to say: “The instructor kicks thestudent to give him a little pain as pay back of allthe pain he has caused the instructor throughoutthe time and training”. It was somethingrepresentative as in the old days when a studentwas kicked hard, everyone nodded and thought:“Oh, he did a good job”. People used to get upsetwhen Mr. Parker didn’t give them a good kick andthink: “What did I do wrong?”
Ed Parker’s Kenpo
B.I.: About forms, do we teach anything that we could say they are wrong? R.P: Wrong isn’t the appropriate word. Different from how the technique is done is more correct.
This used to be done in many schools and I’ve seen people teaching some things instead of otherthings to hide and keep little “secrets”. However, the real reason behind that was to test the studentto see whether he understood what he was been taught. If the student doesn’t realize he is violatingprinciples or rules and doesn’t ask, then he’s not learning much. Also there are many people wholearn by heart the principles but are useless on the mat.
B.I.: Have you changed anything from theoriginal system?R.P: I wouldn’t use the word “change” becausewhen I explain Kenpo I do it like an upside down
pyramid. To build a normal pyramid you’dhave a wide base and then get to the top.
In Kenpo we start with one, and thenbuild two on top, then three ontop…that’s how we keep adding to.I’ve added things and variations bythe rules and principles but I
haven’t el iminatedanything.
Ed Parker’s Kenpo
Great Masters
B.I.: Would you say weaponstechniques in Kenpo are correct?R.P: There’s correct or good. Anything
can work if the timing is right but there’san “if” in that statement and now daysthere are too many “ifs”. Weapon form isthe last you learn because you have to bevery good to take on weapons withoutgetting hurt real bad or killed. You can getbruises and lumps fighting with emptyhands but not killed. We show you tomove from inside to outside and that’salways a good idea, to get away from hisback-up weapon. But for categorycompletion you move from outside toinside where the opponent can easilycheck you off and use the weapon in ablink of an eye but people don’t thinkabout that. So we show you this categorycompletion move at the worst possibletime meaning that you shouldn’t movefrom outside where it’s safe to insidewhen there’s a weapon in between.
B.I.: Referring to what you just said,don’t you think some techniquesshould be updated since now days it’smore common to see people withdifferent weapons? R.P: That’s true and that’s what many
of us have done. However, you’re talkingabout a situation in which you run intosomeone who is trained and you end upgetting into a fight with him but it’s veryunlikely that two people that know martialarts run into each other and fight. That’snot realistic. Besides, people who trainmartial arts are learning it for self-defenseand from what I’ve seen they aren’t thetrouble makers that go around fightingpeople.
B.I.: What do you think about the factthat there are so many high rankingblack belts in Ed Parker’s Kenpotoday?R.P: Many people make comments
about that and they wonder why Kenpo isthe system with the highest number ofblack belts. Many of them have gotten itbecause of their ego. There are manypeople who are not qualified but had
Ed Parker’s Kenpo
Great Masters
Ed Parker’s Kenpo
been given the black belt. The reason why Mr. Parker had blackbelt students is that, apart from the fact that they had earned itwith time and training, he wanted to spread Kenpo and wanted togive some authority to these people who were going to berepresentative of Kenpo in their state or region or school.
B.I.: If Mr. Parker were still alive how do you think he’d reactif he’d saw the development of the art?R.P: I think he’d turned over in his grave. In my opinion, since
Mr. Parker died Kenpo has not gone forward but it’s done abacksliding of ten to twenty years. Short after he died more thantwenty organizations popped up. My friend counted over sixty andI found it hard to believe but I wouldn’t doubt it. There are toomany unqualified instructors going around the world teachingKenpo. What I try to do is show how messed up it is. They like tofeel respected but that only happens when they are in that roomteaching. Rank is no good unless it’s respected.
B.I.: Do you have any organization of Kenpo?R.P: Many people think I do but I don’t have anything legitimate.
People talk about training Parker-Planas lineage and that’s how itmay look like it’s an organization or federation but there’s nothingon paper that says people belong to this or to that. It’s just so thatpeople know where they are at.
B.I.: What is exactly Parker-Planas lineage and how is itdeveloping in the world today?R.P: People know where I come from. There are many liars out
there that claim to have trained with Mr. Parker. People have seenme with the old man working with him and writing down thesystem. That’s the reason why I have a busy schedule and travelaround the world teaching and many of my old students are doingthe same too. About the development, it’s not growing in leapsand bounds but it’s growing. Some people have been trainingforever but have learned nothing and some have achieved a lot ina very short time. Also I always say: “If you get your rank easy, yougive it easy. If you get your rank hard, you give it hard”. I don’t giveranks, I give lessons.
B.I.: In 1993 you made videos on forms; will you be doingother videos with techniques?R.P: I decided to do DVD on what I call “problem techniques”
which are techniques that cannot be learned by reading the bookand that’s basically all of them. There are common mistakes yousee and I picked I think forty to sixty techniques out of thestandard curriculum.
B.I.: After so many years teaching and travelling around theworld spreading the art of Kenpo what is your motivation tokeep on doing this?R.P: I didn’t plan to be a karate instructor. As I said earlier, I was
a musician at the time. It’s just something that happened. I started
Great Masters
Ed Parker’s Kenpo
teaching when I was orange belt. The artmeans a lot to me and that is whysometimes in my classes I yell and screamand howl but that is only because I careand I want things done properly andcorrectly. I’ve seen people teach with acigarette in one hand and a can of beer inthe other telling the students what to dojust to keep them busy. You can tell thesepeople don’t care much about thestudents or/and Kenpo.
B.I.: Are you optimistic about thefuture of Kenpo?R.P: Getting everyone under the same
roof will never happen. You pick your roadand you go down it. We have tounderstand Kenpo is not made foreverybody. Are you ever going to useKenpo in a f ight? I doubt it but it’simportant that what you learn you learn itwithout blanks.
B.I.: What would be your advice toanyone who wants to start learningKenpo? R.P: My advice is that you have to know
what you’re getting into. This is a martialart to save your butt in the street. If youdon’t train hard and realistic it won’t bethere to save you. It’s a lot of hard work,it’s not magic.
B.I.: Thank you Master Planas. R.P: Thank you as well.
“I think he’d turned over in hisgrave. In my opinion,
since Mr. Parker died Kenpo hasnot gone forward but it’s done abacksliding of ten to twenty years.Short after he died more thantwenty organizations popped up. My friend counted over sixty and I
found it hard to believe but Iwouldn’t doubt it”.
“The main problems inKenpo, I think,
are qualified instructors.There are many peopleteaching or that wereforced into it or thathave been put in that
situation and really theydon’t know enough about
Kenpo and they justteach what they are told
to. It happensworldwide”.
Ed Parker’s Kenpo
A MARTIAL FAIRY TALE
By Grandmaster John Pellegrini
Once upon a time there was a Martial Artsschool that was teaching children and adultmen and women, a beautiful Art, developedhundreds of years ago, evolved by severalgenerations of Masters, refined and modera-tely modernized to adapt to current laws andsocial climate. The students learned the tradi-tions of the Art, its history and cultural origin.They also learned its physical component andits technical attributes and how to apply themto real combat situations. But they learnedmuch more than that. The Master of the aca-demy took great pains to instill in his studentsa moral code that would shape their attitude intheir everyday lives and govern their conductwhen dealing with others. He did this by stres-sing and emphasizing the tenets of the Art,and by cultivating the character building qua-lities necessary to produce peaceful andhonorable warriors. Respect, humility, confi-
dence, compassion, courage, generosity,honesty, loyalty….every desirable human attri-bute, the Master, by example, strived to teachhis students.
Then, not suddenly but over a period ofmonths, the Master noticed that he was losingstudents. Business was slow and, at first, hethought it was due to the poor state of theeconomy. Then, one day, one of his higherbelts, a nice young man, announced that hewould not continue his training at the aca-demy. The Master was dismayed and imme-diately, in his usual spirit of generosity, thin-king that the student was having money pro-blems, told the young man that he could con-tinue to take classes at no cost until his finan-ces improved. The student, visibly uncomfor-table, informed the Master that his decisionhad nothing to do with money.
He then reluctantly revealed that he was lea-ving to go to a new MMA gym and that seve-ral of the other students who had left the aca-demy in the last few months had also gonethere. The Master was disappointed but he
Great Masters
As every month, Grandmaster John Pellegrini, one of the mostinsightful Martial Arts feathers today, enchants us with hisexperience and knowledge.
Master Pellegrini possesses the unique virtue of combining hisdeep knowledge of the tradition, with his ability to couple it topedagogical modernity, in a clear and orderly manner. For thismagazine it is always a luxury and a pleasure to count on hisarticles year after year. Don't miss this "fairy tale"!
Alfredo Tucci
Combat Hapkido
wished the student the best and told him thathe would always be welcome back. The youngman thanked the Master and started to leave.But then he stopped, turned around and said:“Please understand, it is nothing personalagainst you, it's just that MMA is so cool; myfriends are doing it; we learn how to REALLYfight and the instructor told me that I have greatpotential to become a fighter and participate inchampionships”.
That night, the Master reflected on the inci-dent and the general situation of the academy.He realized that times had changed and that thepopularity of televised “gladiator sports” washaving a strong influence on many young men.He believed that there was nothing inherentlywrong with MMA training and that it was theright sport for a very small number of people.But he also knew that it was not a true MartialArt in the complete, authentic sense and that itwould always remain a fad,
a trendy entertainment and an often brutalspectator sport that many enjoy watching butfew want to experience. So the Master decided
to find out how other Martial Arts instructorswere dealing with the situation and he set out tovisit most of the schools in his town. What hefound was incredibly disappointing.
A few of the schools had sadly gone out ofbusiness. Some had decided, simply for finan-cial reasons, to partially embrace the fad andhad added an MMA program to their offerings(often with no real technical knowledge of trueMMA training!).
But what the Master found most shocking anddisheartening, was that several schools, in orderto capitalize on the profitable trend, had totallydiscontinued and cancelled all Martial Arts clas-ses and had converted completely to an MMAgym.
The Master was sad and a little confused.Hadn't he seen this before? Hadn't this happenmany other times? Didn't they understand thatfads, trends, fashion, gimmicks and popularinfatuations come and go? Over the years, theNew, the Ultimate, the Unbeatable, the “Make-you-rich” programs had all eventually faded
away. “Bodyguard Training” guaranteed to getyou hired by Hollywood stars; Baby-sitting mas-querading as “after-school martial arts”; aerobicclasses pretending to teach self-defense; secretIsraeli commando techniques; secret Russianspecial forces techniques; Brazilian street wres-tling… and on and on. We seem to forget the rip-offs of the past and we cannot wait for the nextnovelty that's going to make us rich and famousand solve all of our problems. But it never seemsto work that way. On the other hand, true MartialArts had withstood the test of time… for centu-ries.
The Master smiled…he understood comple-tely. For a time, the demographics at his aca-demy would be different with more mature stu-dents, more seniors, more women, more chil-dren and many less testosterone driven youngmen.
The Master knew what he was going to do. Hecontinued teaching his beloved Art and he andhis students lived happily ever after.
Great Masters
Combat Hapkido
“Once upon a time therewas a Martial Arts
school that was teachingchildren and adult menand women, a beautiful
Art, developed hundredsof years ago...”
“Then, not suddenly butover a period of months,the Master noticed thathe was losing students.Business was slow and,
at first, he thought itwas due to the poor state
of the economy.”
SO WHO IS KAHANA THEHOLLYWOOD STUNTMAN? ToUnderstand, it is essential tounderstand Kahana the man.I was born in the Hawaiian Islands
on October 16th, 1929. My father wasin the U.S. Coast Guard and was aninstructor in Judo and Aikido teachingto the general public as well as myfamily. At the age of 4 and a half Ibecame very proficient in both thesearts. In 1934 my father was transferredfrom Sand Island, Hawaii to Osaka,Japan taking me along with him whereI studied under Sensei Hanna Fusa forabout 3 and a half years earning myfirst black belt in Judo at the age ofnine years old. Than in 1937 my fatherwas transferred back to Hawaii. ThereI was able to see many different stylesof martial arts such as Filipino-stickfighting, Kung-Fu, and Karate. I wasvery active and liked to fight in andout of the ring. I enjoyed contact. Myfirst style in Karate was Shotokan, but
after studying for a year it became alittle too rigid for me so I made thedecision to switch to Kempo and thento Shorin-Ryu. By this time I haddeveloped a good mix of martial artsunder my belt. I was also veryinterested in the art of the SamoanKnife and Fire Dancing which I learnedfrom some of my Samoan friends. Inlater years I became a Samoan Warriorunder the training of Freddie Letuli andtraveled around the world performing.As a boy I became very restless. I
wanted to go to the mainland and seethe country. At the age of nine Istowed away on a ship bound for SanFrancisco, but out to sea I wasdiscovered and brought back toHawaii. After witnessing the bombingof Pearl Harbor I stowed away againand this t ime made it to SanFrancisco. From there I hitchhiked andhopped trains across the country tomy Uncle in New York where he wasworking in a band with Xavier Cugat.
A Classic Success Story
Article written by: Famous MartialArtist & Hollywood Stunt Legend KimKahana Sr.
You may not recognize myname or my face, but ifyou've ever watched TV ora feature movie the chan-ces are you've seen me,Kim Kahana Sr. I'm the guygoing over the cliff, flyingthrough the bar room win-dow, crashing a car andfalling off a horse.Subjecting my body to wha-tever the Hollywood scre-enwriters and Directorscan dream up for theiraction shots.
Legends of Martial Arts
He taught me how to play the drumswhich was the start of my career inshow business, playing drums anddancing the Samoan Fire and KnifeDance.Years later during the Korean War I
enlisted in the U.S. Army and becamea member of the Airborne RangerUnit. The Korean War was aboutsurvival. In fact I clawed my way outof a grave after an enemy firing squadhad left me for dead becoming one ofthe country's most decorated soldiersof the Korean War, having receivedthe Silver Star, two Bronze Stars andtwo Purple Hearts. I later alsorecovered after a grenade explosionhad left me blind for two years andpermanently sightless in my left eye. After the Army I moved to
Hollywood and began working as anextra. I also began picking up work asa stuntman after I realized that theseguys were getting paid a lot more for
what I had been doing in Korea forfree. At least it seemed that way in mymind. I did not know how to ride ahorse, so I went to such legendaryHollywood cowboys such as YakimaCanutt and the family of John Epper.My vast career has spanned over 300movie and TV credits which can beviewed on Wikipedia and IMDb.The idea for a stunt school came to
me in the 70's when I noticed that theprofession was being overrun withyoung daredevils who were killingthemselves and injuring others. Thesedaredevils who encouraged daringfeats by those with more guts thancommon sense. I didn't want to stopthe newcomers from coming, but I didwant to make sure they knew how todo their jobs without ki l l ingthemselves or someone else. So1972 I began the Kahana StuntSchool for those who were already inthe stunt business. Two years later I
opened it to the public and the schoolwas the first to offer organizedinstruction. Up to that point stuntmenhad learned on the job from industryveterans, many of whom didn't carefor the idea of me giving away whatthey considered trade secrets. Sowith that, I resigned from theStuntman's Association of MotionPictures and continued teaching atthe stunt school:
www.kahanastuntschool.com.In this line of work you meet many
people. Some come and go andothers become like family, like theZaino's. It was March of 2009, Dannyand his wife Theresa Zaino called mefor an interview with their Martial ArtsEntertainment Radio network. Afterthe interview I invited them and theirfamily to come up and see the KahanaStunt School. I was very intrigued andinterested in meeting another martialarts family. When the Zaino's came to
tour the stunt school I was very impressedwith their children Tony, Joey and their littlesister Dominique who was only 14 years old atthe time. Danny asked if I could give him someadvice with a documentary he was doingabout his family. We talked for several hoursand before they left they invited my wife Sandyand I as special guests to their Martial Art Hallof Fame Awards Banquet in Clearwater,Florida. Their kids were performing a specialdemo with their “Team Americas” formerlyknown as “National Team Pepsi Show Team”.They were very impressive. I was also surprised as I received a
Recognition Plaque for “Best StuntCoordinator”. Over the past six years the Zaino's have not
only become an extended part of my familythey have excelled their talents far beyond whatI could have ever imagined. This is why I offeredto assist them and become the Director of theironline television show, Director of their familydocumentary film “Born to Compete - theZaino's”, which is now in the editing stagesand recently made the decision to become theirofficial manager. Besides the obvious, theirsimilar family values and work ethic, it is stillquite amazing to me to see their family andreflect on how my family was so much liketheirs with so many similarities to include bothmyself and Danny having long careers in themartial arts, with me over 60 years and Danny
over 40 years. Danny and I both served in theUnited States Army and both were stationedin Korea. I from 1950 to 1953 during theKorean War and Danny, a DMZ Military PoliceVeteran serving from 1979 to 1981.Both of our famil ies are in the
entertainment business. The Kahana's arelong standing in Hollywood for our famousstunt performers, actors and second unitdirectors. The Zaino's are the newgeneration in Hollywood with their ownonline media network to include TV, Radio &Magazine in which Danny is the ExecutiveProducer & Host of “Martial Arts Show BizTV”, an online martial Arts & entertainmentreality based news show starring the ZainoFamily. Theresa Zaino is the CEO andOperator of “Action Entertainment TalentAgency” A fully licensed and bonded SAG-AFTRA franchised agency located inJupiter, Florida. As for the Zaino children,Tony Zaino is a graduate of Palm BeachState College in film production; Joey Zainois a graduate of the Kahana's Stunt & FilmSchool and a student at the Florida StateUniversity along with sister DominiqueZaino who is in the FSU prestigious mediaand communications Program. They are allactors and entertainers currently assisting
the Kahana's Stunt & Film School andhelping with on going projects. Today, the Kahana name is still active and
working in the business. I'm sti l lcoordinating, rigging, and directing. I stayactive in the field, motivated to continue bythe stunt students and their families. I amdoing more projects every year on my 100acre ranch in Central Florida. The ranch isworld renown for movie companies to usefor their productions as well as teachingactors and stunt people to learn their craft.In fact now the Kahana Stunt & Film Schoolhas started a Junior class for stunt careeroriented kids ages 10-17. Our Juniorstudents predominantly have advancedmartial arts or gymnastics background. Ialso continue to work with the Zaino's on adaily basis where our companies “StuntAction Coordinators Inc.”www.kahanstuntschool.com, “MASBTV,RADIO & MAGAZINE”www.masbtvnetwork.com, and “ActionEntertainment Talent Agency”www.aetalent.net have on going fi lmprojects year round for people to come,learn and train from all over the world. At85, I'm still kicking and I don't plan onstopping or slowing down any time soon
“Today, the Kahana name is still active andworking in the business. I'm still
coordinating, rigging, and directing. I stayactive in the field, motivated to continue by
the stunt students and their families”
All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.
REF.: • KYUSHO 22REF.: • KYUSHO 22
The "Kyusho Tactical Control Program" (KTCP), was designedfor Subject control escalation with Legal, Medical and TacticalDeployment research, field-testing and coordination. The scopeof this program is for use by but not limited to, LawEnforcement, Security, Emergency Medical or Response, Coast
Guard, Military, Governmental Agencies, Body Guardsand Personal Security. This Basic Module is
comprised of one set of 12 primary targetsand integrated into 4 modules of
escalating force restraintcontinuums. There are several
weak structures in the humanbody that can be utilized by an
Agent to simply gain controlof a perpetrator moreefficiently thanconventional use of forcemethods. This would bein the protocol should asituation escalate pastthe verbal commandstage. These Kyusho(Vital) points are wherethe Agent can make useof internal systems of
physical control such as,Nerves, Tendon Structure
and natural Nerve Reflexesof the body. Not requiring
heavy force Fine or complexmotor control or even sight… all
of which is subject to failure andloss in high adrenaline states. This
information is dedicated to the Brave andResilient Members of these Agencies around
the world… Thank you for what you do!
Budo international.comORDERS:
WING CHUN GUNWING CHUN GUNWING CHUN GUNWING CHUN GUNGGGG FUFUFUFU::::
The Explosive Art of Close Range CombatThe Explosive Art of Close Range CombatThe Explosive Art of Close Range CombatThe Explosive Art of Close Range Combat
Sifu Randy Williams’ extensive collection of books
on Wing Chun in 6 volumes, the series contains the
history of Wing Chun, the theory and description
of all Wing Chun forms in detail, Volume 6 is
focused on instructing the system and provides
additional information about Wing Chun Combat
Theory from A to Z! This great work, originally
written in 1988 and newly revised and updated is a
must for the library of any serious student of the
art.
You can order the entire series as a set of 6 books,
or by individual volume, and the new DVDs can
also be ordered individually or in sets directly from
us through our website:
www.shop.crca.de
One Volume € 49,90
SingleWeapon DVD € 39,90
Biu Jitsu DVD € 25,90
DVD Set (all 5) € 149,90
The shipping & handling costs are not included for more
information please contact us:
Copyright © 1989 CRCA Enterprises
Publisher CRCA-Lopez / Mario Lopez,
Atroper Str. 56, 47226 Duisburg, Germany
E-Mail: [email protected]
Five brand new Wing Chun DVDs
1 DVD: “Bot” Jom Doh Basics
Complete “Bot” Jom Doh Form, 108 Motions,
Historical Information about the Wing Chun
Broadswords, Detailed Knife Blocking and
Striking Techniques, “Bot” Jom Doh
Footwork, Details of the footwork orientation
of the form, One-man “Bot” Jom Doh Drills
2 DVD set: “Bot” Jom Doh, Applications,
Drills, Concepts & Principles
Applications of the motions from the “Bot”
Jom Doh form, Knife vs. Knife, Knife vs.
Pole, Drills, Concepts and Principles,
Specially created Knife drills for the Wooden
Dummy, Detailed Knife Blocking and
Striking, Knife techniques as compared to
their empty-hand counterparts, Cutting
Principles
1 DVD: CRCA Wing Chun “Biu Jitsu”
Groundfighting
Contents: The concept of “Reverse
Engineering,” Chokes; Rear, Front Standing,
“Guillotine,” Head-and-Arm, Side-Mount
Shoulder Choke, and many other
Groundfighting drills and techniques.
2 DVD set: “Look Deem Boon” Gwun
Volume 1 ( 55 min. )
Content: Pole Details, Pole Drills, Pole
Footwork, Form Overview, “Look Deem
Boon” Gwun Form, 6 ½ Strikes of the Pole,
Applications: Pole vs. Pole
“Look Deem Boon” Gwun
Volume 2 (60 min.)
Heavybag Drills, Dummy Drills, Two Man
Drills, Form overview, Pole vs. Knife
