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eyond the evident lies the essential. Theessential is invisible; what gives value to thecup is its emptiness, but we all look at thecup. That's how perception faces mystery.We watch, hear, feel, store information,

millions of data per second, to place in our environment,and react in it; we process the data according to learnedcodes, to schemes that have been internalized from thevery moment they were born, and based on builtmechanisms that are the result of millions of years ofevolution with a single purpose: Prevail, exist, reproduceourselves... and the wheel in which we are inserted as aspecies may keep turning.

At some point in our evolution, a spark ofconsciousness jumped and forced us to move forward inanother process, quite different from the common taskswith other mammals: the one of our evolution asindividuals, and, along with it, the need to place ourselvesbefore the mystery.

What are we? Where does the essence of humanbeings lie?

Our body is a vehicle, certainly important, because itgives us the opportunity to interact and correspond tostimuli and the environment in the material plane, but it isa complex casing that wears out and ends up failing. Themind continues to be an accompaniment of this biologyalthough it transits into much more subtle planes than thephysical body, but anyway it's also exposed to thevicissitudes of the passing of time and the manylimitations inherent in its biological nature.

The classics face the consequent dimensional jump tothe next grade in many ways, because when we starttalking about soul, spirit, or any sense of that which isintangible, we sail in stormy seas, in which setting stableparameters, almost always involves an act of faith.

Religions solve this problem with suggestions andexplanations related to their own description of mystery,structured through prophets and revelations, and aresatisfactory enough for most people.

Others, convinced that he that is born piglet shall diepig, roam throughout science, agnosticism andmaterialism, not quite knowing what to do with their innatebrain portion destined to magical thinking.

Eventually, one and all, sooner or later, we willhave to look at mystery, face to face, at least at themoment of the "ultimate fate"; with some luck,during our life journey, some occasions will comeacross our lives to make us wake up on our own tothese other realities of the intangible and we'll beable to seize them.

I love the ways of the midst, although they are not theeasiest to be transited. I have checked with certainty (andeven vehemently) that we have enough tools to not needbuild a faith based on something else than our ownexperience. But to have a possibility of interacting with thespiritual world, you need to travel along a way paved withsomething like the wisdom of the ancients, those who,long before us, dared to look at mystery with the zeal,daring and skepticism of a gypsy when it comes to buy ahorse.

But these trails are rather scarce because few are thosewho embarked on this quest and even fewer those whowere willing to share their experiences. When you leavethe flock, the other sheep look at you like a wolf,especially if you are far away from them. Sheep, likehumans, the closer they huddle in group, the more dustthey raise by walking and the less they see; their defenselies in the stacking and the hope that the predator takesfirst those outside. But facing the Great Predator, the onewith the scythe, no one can escape, and in one way oranother, the finiteness of personal existence confronts uswith dilemmas and questions that overcome theframework of the own natural concern about surviving ornot, of that which is essential to us.

Those who have stood before a corpse perhaps havefelt a kind of strange and quirky sensation of emptinesssurrounding them. There's nothing there, even when weare seeing the body of the person we had met, there isonly emptiness. Nothing animates (same word as soul inLatin, "anima") that individual and only the vertigo of animmense void is present.

One of the most recurring questions at this point is thatof identification. He who is uniquely identified with hiscarnal wrap, knows only that. He who does it with hismental phase, prefers that. And finally, the one who doesit with the intangible perceives the world from thatwatchtower. The latter are the least because in thatregard, the law of the pyramid, as the definer element ofeverything in this plane, is inevitably enforced ... that is,many down... few above...

The mystery is such because it does not manifest withinthe common parameters, not because it does not have anature, content and specific ways, but to penetrate it, youmust transgress the normal limits of perception, thecommon agreements and the group consensus, whichforces us to look at things as we all accept they are.

Said transgression involves at some point a necessaryleap, an initiation that breaks the frame of references wehave built working hard, and such maneuver supposesdying to what we are so that something new is born. I will

"I have sometimes suspected that the only thing withoutmystery is happiness, because it justifies by itself."

Jorge Luis Borges

"To see clear it's enough to change the gaze direction."

Antoine de Saint-Exupery

B

not deceive you, neither everyone wants nor everyone can muster the requiredenergy and courage to do so.

However much this is a subtle process, complex and painful, contrary towhat one might expect, is something to which we are constantly bound.Ancient Mexican shamans said that the hard part was not to takethe leap, but to keep constantly our perception of activereality fixed on just one point: consensus. They saidthat the effort to do so consumed all our energiesin such a way that we didn't have any moreenergy available to be free, clean andauthentic. Infinity, like water, has a verythin snout and it seeps through everycorner of our everyday, flooding usinadvertently.

Exploring spirituality is a horizonmuch closer than we can imagine;it ends up having nothing to dowith religion, except that bothfocus on the mystery throughdifferent lenses. The latterconceives the inconceivable tomake it acceptable, andteaches moral standards fortraveling in this lifetime kindly ingroup. And the other facesmystery in a barefaced way,without formal barriers and otherpreconceived formulas than theown peculiarities of its lineage,based on the experience of theelderly. One judges and the other accepts;the first knows, the second verifies.

In the end, before the great arcane, there are nopossible versions, only the great truth of anunparalleled experience, comparable only to thatmoment that none remembers... birth. Beginning andend are complementary opposites, and every minute inbetween is an exceptional opportunity to go beyondthe obvious, the plausible, the consensus. Runningthe veils of Isis, revealing eternal truths… there hasnever been a bigger challenge since the spark ofconsciousness sprang out! Life explains by itself if weso decide, but for the hungry, curious, and courageoustravelers of the infinite, this feels considerably short.Good trip to everybody! End station: Eternity.

Alfredo Tucci is General Manager to BUDO INTERNATIONAL PUBLISHING CO.e-mail: budo@budointernational.com

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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

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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

experiences.

REF.: ¥ KMRED1REF.: ¥ KMRED1

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or the like is however neves offered with a

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Budo international. netORDERS:

Ethics, Principles and Foundations...Ethics is a branch of Philosophy that deals with the rational study of morality,virtue, duty, happiness and good living. It requires reflection and argumentation.The study of ethics dates back from the very origins of Philosophy in ancientGreece and since then its historical development has been wide and varied.

Ethics examines what is moral, how a moral system is rationally justified andhow it must be subsequently applied at the individual and social level. Ineveryday life is a reflection on the moral fact, it seeks the reasons for adoptinga moral system or another.An ethical doctrine develops and verifies claims or certain judgments. An

ethical sentence, moral judgment or normative statement is an assertioncontaining words such as "good", "bad", "right", "wrong", "compulsory","allowed", etc., referring to an action, a decision or also to the intentions of theone who acts or decides something. Ethical judgments are used to morally

Kenpo

evaluate people, situations, things oractions. Moral judgments areestablished when, for example, it issaid: "That man is bad", "youshouldn't ki l l", etc. In thesestatements appear terms like "bad","should not", etc., that involve moralvaluations.I've always considered the

relationship between master andpupil like the one existing between

parents and children, accepting ofcourse the obvious differences.Parents have children; give themlove, protection, shelter, food,education, studies, home, family,etc. The teacher, instructor orMaster, on his part, will provide themwith a high expansion of theknowledge that concerns him. I amtalking in vocational and schoolterms. And he wil l do it with

consistency and patience,correction, education, perseverance,respect as well as protection,according to his own teachingcapability.From the moment the child begins

his or her f irst steps in schooleducation, until he or she achievesthe chosen specialization,graduation or degree in whateverbranch of knowledge, the

Kenpo

“I've alwaysconsidered therelationship

between masterand pupil like the

one existingbetween

parents andchildren”

responsibility falls on the personsconcerned with teaching them everyissue. To achieve this, boys and girlswill have several or many teachers orguides and once they havecompleted this stage of their lives,they will have to make decisionsabout their future, like searching ajob, for example, which they will getin their own city or beyond. As timegoes by, they will gradually moveaway from the parental home andone day they will set their own homeand will have children. In short, theywill go away from their loved ones,lifelong friends, family, habits andcustoms, that is, their environments.

In the case of sports or Martial Arts,guidelines will be or will have beenvery similar. The father, the son orboth, will previously study the marketand its offerings. It's also highlyrecommendable that the studentconcerned has a clear idea, or atleast a vague notion of what is relatedto what he should know and what heis actually looking for. He must knowwhich are his goals or personalconcerns. It is particularly importantto know his physical, psychologicaland physiological qualities, as well ashis own limitations, taking intoaccount his age, morphology andgenetic heritage.

Generally, when we decide to takeup a martial art or a related sport, wedo so under some influence.Sometimes it is by what we knowfrom the media, that is, an art or afashionable sport. Perhaps it’sbecause our friends, neighbors orsome relative are practicing it.Television shows and movies alsohave a great influence on thesethings. I can still remember that oldfirst "Kung-Fu" TV series - shot inblack and white - with DavidCarradine that spread out bordersworldwide making Kung-Fufashionable, when still very fewknew the difference among

Karate, Judo, Kung-Fuor Tae-Kwon-Do.There were things soabsurd as books orvideos that spoke of"Korean Karate" -s o m e t h i n g

unacceptable today ...simply because there is no

Korean Karate. That sameignorance of the time took off the

roll to Bruce Lee and granted it toCarradine, who was "worse than

hunger" as a martial artist, and I wouldadd that he was also a lousy actor.

However, the series was a big successworldwide.We have endured and accepted the different

fashion trends like Kung-Fu, Full-Contact, Kick-Boxing, Ninjutsu, Vale Tudo, MMA, and today, what isloudly sounding is the Israeli Krav Maga. But what isthe difference among each and every one of them? Andmoreover, what do we want to do and for what?Thanks to the currently available media, such as

newspapers, books, videos, television, films, Internet, bydedicating a little of our time is very easy to investigateand uncover that halo of mystery or truth surroundseach. What is their reality? It is therefore advisable toresearch, read, speak with others who are alreadyinitiated or experts, ask and clear up questions beforetaking the plunge.Just as there are a number of professional careers such

as Engineering, Chemistry, Architecture, Medicine, Law,etc., there are also many styles, and styles within each styleor art. The simple fact of knowing previously what we want,

will avoid that we waste our time, energy and money,as well as upsets and disappointments.

By way of summary guidance, Judo is anOlympic sport and not a Martial Art. Judois a combat sport of Japanese origin.The Japanese term can be translated as"the path to the softness". This martialart was created by Master Jigoro Kano in1882. Master Kano compiled thetechnical and tactical essence of two ofthe oldest Japanese schools of CloseCombat or Jujitsu; these were the TenjinShinoy Ryu and the Kit-ryu, which werebased on the melee and were practiced inJapan by medieval warriors in armor (orsamurai) on the battlefield, until the beginningof the nineteenth century. Kano achieved tobring them together into one, Judo, within hisschool, the Kodokan. In its sports form, itspecializes in throwing techniques, submissionsand chokes. However, its comprehensive practice

Kenpo“Generally, when wedecide to take up amartial art or arelated sport, we do so undersome influence”

doesn't neglect blows, disarms, several joint dislocations aswell as the using of pressure points and resuscitationmethods, which makes it very suitable for security forces,blue helmets, police, military, paramedics, etc.

Boxing

Boxing - At times also called English Boxing or IrishBoxing, is a combat sport in which two opponents fightusing only their gloved fists, punching only from the waistabove, in a platform specially designed for this purposecalled ring (although it's a square, the term ring comes fromearly in boxing’s history, when fights were still bare knuckleand occurred in places far different from the lights of theMadison Square Garden) in brief fighting sequences andaccording to precise rules, which regulate weight categoriesand duration of the meeting, among other aspects.In a broader sense, Boxing refers to a wide genre of

combat sports in which two opponents face in fighting usingexclusively the fists or not, differing according to the rules,different sports, as the already mentioned English Boxing, orBoxing properly said, French Boxing or Savate, ChineseBoxing or Shaolin Boxing, Kick Boxing or Japanese Boxing,Muay Thai or Thai Boxing, ancient Greeks hand to handfighting systems as Pygmachia and Pankration, etc.The first codification of the rules governing boxing

matches date back to 1743, while the still current rules wereestablished in 1889 by the Marquis of Queensberry, whoamong other things introduced the use of gloves.Traditionally, Boxing has been considered an exclusively

male sport, legally and culturally affected by gender bias.The recognition of women's rights and the progress in the

fight against discrimination, havebrought about a boom in Women'sBoxing in recent decades, so the2011 Pan American Games and the2012 Olympic Summer Gamesincluded female Boxing in severalcategories.Karate, Karate-do, "the way of the

empty hand", is a traditional MartialArt of the Ryu Kyu Islands of Japan,what is now known as OkinawaIsland. It originated in the indigenousmartial systems of the Ryukyu, called"Te" ( l iterally, 'hand'; "Tii" inOkinawan language) and ChineseKenpo. These styles of Martial Artsarose from the need of noblewarriors of the island (pechin) toprotect the last king of Okinawa, ShoTai, and themselves, against theJapanese armored warriors(samurai). Gradually, Karate wasdeveloped in the Ryukyu Kingdomand subsequently expanded, beingtaught systematically in Japan afterthe Taisho era, as a result of cultural

Kenpo

exchanges between the Japaneseand the inhabitants of the Ryu Kyuislands.Karate-do characterizes mainly by

the use of punches and kicks,although its repertoire is notrestricted only to these techniques.In Karate-do, strength, breathing,balance and posture, proper hiprotation and a joint connection ofmuscles and limbs are coordinated,shifting much of the body weightand center of gravity in the impact.Generally, it seeks to defeat theenemy by a single blunt impact, inthe likeness of the thrust or cut of akatana or Japanese sword. Theperson who practices this Martial Artis called karateka.Tae-Kwon-Do is a martial art

transformed into Olympic combatsport since 1988, when it wasintroduced as a demonstration sportat the Olympic Games held in the cityof Seoul, South Korea. Taekwondostands out for its varied andspectacular kicking techniques and iscurrently one of the best knownsystems. Taekwondo is mainly basedon much older Martial Arts, such asKung Fu or Chinese Wu Shu (in someof its open hand techniques), KoreanTaekkyon (in the way and executionof its kicks), and Japanese Karate -do (Shi de Kan and Shotokan styles),from where it takes its punches,several open hand blows, itsplanimetry (or division of the humanbody by levels: high - middle - low),blocks, positions, the belt gradingsystem, its first uniform and its firstknown forms, like "Palgwe" forms inthe WTF (World TaekwondoFederation) and the "Hyong" forms inthe ITF (International Taekwon-DoFederation).Kick Boxing is a contact sport of

Japanese origin, in which fighting orsparring techniques of Boxing mixwith those of some Martial Arts,such as Karate and Thai Boxing,being thus connected with theancient art of Muay Thai, althoughelbow strikes and knee kicks areusually not allowed. So is somehowsimilar to modern Thai Boxing,however it's not considered a

forming traditional martial art orGendai Budo par excellence, but acombat sport. A Kick Boxer is atough competit ion for othercombatants of standing fights whoprefer other contact sport or MartialArts, because of the physicalresistance, strength, and enduranceto blows of the Kick Boxingpractitioner. Today is one of thefavorites systems for thedevelopment of the fight standing,used in the combined mixed MartialArts or MMA systems.Muay Thai, also known as Thai

Boxing, is a Thai martial art that ispracticed from the standing position,using combined legs and armstechniques. It's very similar to otherIndochinese boxing systems, suchas Prodal in Cambodia, Tomoy inMalaysia, Lethwei in Burma andMuay Lao in Laos.Today, Muay Thai has become a

national symbol of the history andidentity of the Kingdom of Thailand.Its roots are to be found in the MuayBoran, a traditional variant and amartial art that includes figures, openhand techniques, locks, throws andtakedowns. Today, this disciplinecomplements the Muay Thai, alongwith Western Boxing.Today, Muay Thai is often

considered an extreme sport, whichfavors the placing of bets andtherefore, a sport that is consideredillegal in many states of the U.S.A.Kenpo is the name of some

Chinese Martial Arts styles, withgreat methodological influence onthe grading system and the uniformof part of the traditional JapaneseMartial Arts or Gendai Budo andrecently, in the Filipino Martial Arts,such as Eskrima. The word Kenpo isthe Japanese translation of theChinese word "quánfo", whichmeans martial art / boxing ofChinese origin. It is important to notethat the term Kenpo is used to referto Chinese Martial Arts (Wushu /Kung Fu) specifically to Kung Fu,traditionally regarded as the basis ofmost existing traditional styles; thesearts were created in China, practicedand developed in Japan and Korea,

later to be promoted in many othercountries.In its beginnings, it is believed that

this martial art was trained in Chinaby several Japanese warriors, assome medieval samurai traveled tothe Continent in search of martialknowledge; they learned Wu Shu(also called Kung Fu). When thesemasters returned to Japan, theybegan to teach Chuan Fa or Quan Fa(as the art of Wu Shu was formerlyknown) as Kenpo and Kempo, with agreater Japanese influence; that'swhy sometimes it's considered adifferent style, with a greateremphasis on circular techniques andcontinuous striking with the hands,than Okinawan karate.Kenpo literally means "method

fist" which is conceptually translatedas "empty hand fighting method",although given the polysemy ofideograms, today is erroneouslytranslated as "law of the fist", since ithas a more aggressive sound,despite its original traditionalmeaning is not really that.Nowadays there are hundreds of

modern and post-World War II(1939-1945) Kenpo styles because,over time, several Japanese andforeign masters learned other MartialArts, thus developing differentstreams and styles. So, severalmasters began teaching a modernKenpo, based on Wu Shu, but withtheir own style. Among thesemasters, the best known are AdrianoEmperado, founder of the Kajukenbosystem, and Ed Parker, who foundedthe Kenpo Karate.Fu-Shih Kenpo bases its art in 5

directions: Tradition; Artistic SelfDefense in the school; Street SelfDefense; Police Self Defense;Oriental and natural weaponsmanagement in a modern andpractical application, with influencesin Shotokan Karate, AmericanKenpo-Karate, Tae-Kwon Do andKick-Boxing.Krav Maga (meaning in Hebrew

"Close Combat") is the officialcombat and self-defensesystem used by the IsraelDefense Forces (IDF), Israeli

Kenpo

Kenpo

“Fu-Shih Kenpobases its art in 5

directions:Tradition;

Artistic Self Defensein the school;

Street Self Defense;Police Self Defense;Oriental and natural

weaponsmanagement in a

modern and practicalapplication”

Police, Security Services andnumerous Law Enforcement unitsthe of the United States. It is alsotaught at various institutionsassociated with the Ministry ofEducation of Israel and, since 1964,he is taught to civilians worldwide.Developed and refined over years

of conflict, Krav Maga is known forthe ease of learning the techniquesthat have been tested on numerousoccasions, in real confrontations. Thisstyle, born in the twentieth century, isa system of real defense, notdesigned for a society of peasantswho have to defend unarmed in aculture of the Far East or the MiddleAges; every technique, movementand combination have beendeveloped considering current needs.We must also take into account

that it was created in a society andin a country where violence is part ofeveryday life, much more than inother cultures, so the system mustnecessari ly be simple and of amaximum effectiveness.Krav Maga is divided into two

main parts: Personal Defense andClose Combat.The relationship between the

Teacher, Instructor or Master and thestudent must also always be veryclose, correct, polite, professionaland of a mutual respect. Our society(as well as the planet itself) is highlydegraded. The worldwide politicalcorruption and, consequently,shortage of work, low income,minimum opportunities and the

limitations and frustrations thatall this causes in most of the

average population, arebringing about a sadand unfortunate resultof coexistence,civility, honesty andbelief in a betterworld. The crisisthat this istriggering inmajor citiesworldwide,has aconstantimpact

in everyday life which translates intoan increasingly hostile and violentcoexistence and a violation of all ourfundamental rights as citizens of thisworld. The work of educators,parents or guides must be mature,rational, honest, understanding andof honor.When those students, by

circumstances of fate, obligations orcontingencies should leave orseparate from us (especially thosewho have stayed with us a numberof years and with whom we haveshared so many good and badmoments, with effort, painsometimes, sacrifice, perseverance,etc., and with whom we have cometo develop and create an almostfamilial relationship), ideally theyshould do through "the big gate".Whatever the reasons, there isdialogue, understanding andsubmission or acceptance of saidreality.How beautiful is to never be

forgotten by them and never forgetthem. It's like the love of parents,who understand and forgiveeverything.No matter how large the physical

distance might be, do not let it be soin our hearts.Let's not forget that our children, as

we did one day, and so did ourparents and the parents of ourparents, and our children's childrenwill do ... when they decide or need toundertake other obligations, acceptingthe natural changes in our life cycles,they will never cease to be a part ofourselves or cease to be loved.Just as our parents never leave us

or reject us (except in very rare andspecific cases), so a simple studentshould bring us in his heart forever,with great joy whenever a reunionmight occur over time.To do this, of course it will be very

important that each Instructor,Teacher or Master, has planted ahuge seed of affection, dedication,understanding, respect and love ineach and every one of those beingswho have passed through theirschools or dojos. Every loss, every

separation is always "painful for bothsides." No one wins, at least in thevery moment of the facts. That's whyFu-Shih Kenpo proposes, suggestsand recommends:

a) Always be honest, serious andprofessional with our students andcollaborators.

b) Carry out a social and humanlabor with them, impregnated withrespect, understanding, dedicationand care.

c) Share with them the sufferingand act with maturity and dignity tobe able to guide them properly intheir training and make themunderstand that everything has anend and nothing is forever; eithergood or bad. We should be able totranslate or understand themessages that life keeps sending usthroughout our existence.

d) Share and enjoy the good timeswith them, triumphs, successes aswell as defeats. Let's never forgetthat winning streaks also pass andwhile we're in a run of good luck, wemust take care not to get lost invanity, excess pride, arrogance orconceit, and when we're on the darkside and a rough patch isoverwhelming us, we must seizeeverything we've learned in order torecognize and accept humbly thenatural blows of life, and work toovercome them as soon as possible,so that the pain does not becomedepression, which would lead us toworse states.

e) Thank God there are many goodpeople in this world, honest, upright,incorruptible, loyal, consistent,humble and strong at the same time.Beings with great values, strong anddeeply rooted principles of socialand family life.

f) Furthermore, we won't rejectthose fickle beings that areconstantly changing according totheir only and own interests,mediocre, hypocrites, envious,selfish and miserable people; we willalso dedicate part of our goodmanners and customs to them,trying to bring something positive intheir poor lives. But we shouldn't

Reportage

spend too much time with them if wedo not perceive changes in theirpersonal improvement, or, at least, aclear intend to change. Generally, inthe end, the consequences for uswill be worse if we let them entangleus. g) Also there are people who are

"really bad" beings, they may evenbelieve in God and ask him to"provide them a good heist, with agood haul," even if to do so theyhave to cause maximum harm totheir victims. This I have personallyl ived with astonishment. Thesepeople are very hard to change.They were born and brought up inthat horrible dark side of life. Theyhave been committing crimesthroughout their existence, for theydon't know or wish to do anythingelse.Our mission in this regard is

dialogue and example, consideringthat in the depths of their being, theywould also like to be normal peopleand live a quiet life, surrounded byfamily and friends.From these pages, with the

greatest respect, affection andadmiration, I remember my parents,

teachers and masters who haveguided me, directed me orinfluenced me along these already64 years of existence in this beautifulworld. Also I want to dedicate amoment of good thoughts and bestwishes for health, harmony andprosperity to all those who havebeen my students, collaborators,delegates or representatives; thosewho are not, those who haveabandoned the way of Martial Arts,those who remain by my side, and awelcome to those to come. I hope toachieve someday to be a goodmaster, or at least a guide in theirlives. We all get on the train together,many get off at different stations,and others continue until they reachtheir own station. Thank you all.STUDY, REPEAT, TRY TO

UNDERSTAND AND APPLY THESEWISE WORDS:Try to be a good martial artist and

become a good teacher.Understanding comes when the

mind is calm. MEDITATE.Anxiety comes from passion.

CONTROL YOURSELF.Misfortune comes from lack of

humanity. HUMANIZE YOURSELF.

Errors come from carelessness. BECAUTIOUS.Sin comes from impatience. BE

PATIENT.You must be careful not look at

harmful things and draw on the giftof sight to appreciate the good andbeautiful things of life, as well as toread, which allows you obtain abetter education. Give thanks to lifefor having eyes.Choose your words carefully;

avoid lying; speak only with thetruth, in a kind and gentle way; beconstructive in your comments andstay always willing to give words ofencouragement to whoever needs it.Straight way of speaking!Don't fall in with bad company,

stay close to compassionate andgood people. Behave properly in akindly manner. Take care of yourbody and appearance, be clean andtidy. Tell me who your friends are andI will tell you who you are.Respect your elders; they are the

voice of experience. Fulfilling yearsis the single best way to live life.Many fail that privilege. We've lost somany beings on our journey throughlife!

Kenpo

Honor the virtuous character. Admire,celebrate and learn from them.Choose smart and wise men as leaders.

It is the best way forward.Wisely forgive those who are ignorant

and poorly educated. We all have certainlimitations.You must not reject the person who is

irresponsible. Show him the way byexample.Do not expect to be treated as if you

were better than others. Humility andhonesty is the best way to be respected.Do not hold resentment about past

things. Go ahead and learn the lesson.When you hurt another, you're only

hurting yourself. Bad thoughts and actionsare born from the depths of our being andtherefore they affect us in the first place.If you depend exclusively on what others

do, you only get to live in disgrace. Beuseful to society and seek to create or do.Control your temper peacefully and

gently. Think thrice before acting; analyzewhat the consequences might be.Evil is defeated by good deeds, always

has been and always will be. Giving alwaysto others, you control self ishness, asynergy flow is generated.The truth will dominate hypocrisy. The lie

has short legs.

Know your Limits

agakure provides a window on life in eighteenthcentury Japan. We get a sense of the frustrationssamurai faced in a time of peace, and the stressthat enveloped their existence. Actually, all saidand done, they weren't that different to us. Theyhad their foibles, and many of the passages

contained Hagakure are surprising in their mundane simplicity. For example, more than a few vignettes warn the samurai to

know his limits and not over indulge when imbibing. Thesamurai, it seems, had a penchant for getting their fill of ricewine to drown their sorrows-something that many of us canempathize with I am sure. The urge to temporarily get lost in abottle, for fun or through the frustration of having to deal withobnoxious people every day, is a fact of life in most culturesaround the world.

Experts

Alexander Bennett Ph.D.

H

Hagakure

“Hagakure provides awindow on life in

eighteenth century Japan.

We get a sense of thefrustrations samuraifaced in a time of

peace, and the stressthat enveloped their

existence”

Experts

The repercussions of a night painting the town red nowadays might be anembarrassing photo on FB, or a bloodied nose for hitting on somebody you shouldn't

have. The stakes for drunken revelry among samurai could be devastating, too.Deadly in fact. At the lower end of the scale, careless drunkenness for a samurai

had similar consequences for a young executive or job-seeking graduate caughton an iPhone with his pants down during a temporary lapse of sobriety-amassive black mark on is reputation.

“One should always be careful to behave properly at social gatherings.Careful observation of revelries show that the majority of men are resigned togetting totally drunk. Partaking in alcohol is pleasurable so long as one ceases

consumption at an appropriate time. It looks vulgar if one behaves recklessly,and it is an indication of one's character and [low] level of refinement. When

drinking, the warrior should be aware that eyes are always upon him. Actappropriately in public.” (1-23)

The specter of alcoholism was also a fact of life, so it seems. “Many men aredefeated by alcohol. This is a lamentable fact.” As with many things in the

precarious lives of the samurai, moderation was the key to keeping one's all-important reputation intact.

“Be attentive to how much you can imbibe without becomingdrunk, and do not exceed your limit. Still, one will become

intoxicated on occasion. When carousing, be constantlyon the alert to deal with any unexpected

occurrence…” (1-68)

“Unexpected occurrence” is referring to abrawl, and this could easily escalate into an

exchange of cold steel as tempers frayedand testosterone took over. “Drinking is acommunal activity, so be very careful ofyour public appearance.” Moderation andknowing your limits-a very pertinent pieceof advice even today.

Hagakure

“One should always becareful to behaveproperly at social

gatherings. Careful observation ofrevelries show thatthe majority of menare resigned to

getting totally drunk”

Hagakure

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"Vital spot in Taekwon-Do is defined as any sensitive or breakablearea on the body vulnerable to an attack. It is essential that thestudent of Taekwon-Do has a knowledge of the different spots so

that he can use the proper attacking or blocking tool.Indiscriminate attack is to be condemned as it is

inefficient and wasteful of energy". - GeneralChoi Hong Hi, ENCYCLOPEDIA OF TAEKWON-

DO, Volume II, page 88. Taekwon-Do is oneof the largest and most professional

martial arts in the world today, (foundedon April 11, 1955, by General Choi HongHi, and continues to flourish even afterthe passing of its founder in June of2002. Over time the sporting factorstook precedence and much waseither ignored or discarded in thearea of the original self-protectionmethods. In the original writingsof General Choi much of the focus,structure and even the use of thevital points "Kupso", as well as theweapon development to accessthem, was outlined but never fully

taught. Kyusho International hasdeveloped a program to enlighten,

educate, integrate and develop thisincredible Martial Art back to it's

founders concepts. This new programhas the full support of the founders

surviving son Choi Jung Hwa. The focus ofthis series is to investigate the Patterns (teul),

which are performed in accordance with thefounders precepts in "The Encyclopedia of Taekwon-

Do" (an astounding 15 volumes written by General Choi HongHi, including his "Vital Spots"). It is through this structure thatKyusho will be initially integrated back into Taekwon-Do. KyushoInternational is proud to assist in this monumental and historiccollaborative undertaking.

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So what are the elements of the Snake in DBMA?

First there is "the skill of moving your stick toprotect your hand, hide your intent, create youropening, and mask your initiation."

Second, there is the analysis of your opponent'spsychological type.

Third, and closely related, there is the analysis ofhis structure which we call "The Theory ofChambers".

Fourth, there is a specific theory of footwork.

Fifth, there is using this range to AVOID contact,which includes both ST. FOOM (an acronym for "staythe fornicate off of me") and the specific footworktheory for avoiding engagement.

Sixth, there is the theory of the skirmish (multipleversus one, and many versus many where numbersmay or may not be equal)

The first element we will leave for another day. Fornow we will note that Top Dog's distinctive circling ofthe stick we call "the clock" and that a fighterseasoned in the Attacking Block Drills will be able touse a Upward 8 in a similar manner.

Let's turn to psychological types and gamesthat one should recognize in Snake Range. Here,in no particular order, are some examples:

a) "Mongo" (after the Alex Karras character in MelBrooks's movie "Blazing Saddles") Mongo looks tosmash anything and everything that comes at him oris in front of him.

The Snake Range in Dog Brothers Martial Arts”

Text: Guro Marc “Crafty Dog” Denny

As Juan Matus has pointed out, seeing what is not there as well as what ispowerful in Life as well as in stickfighting. I often see doubt or the "BS alert"expression in people's faces when they hear that Snake Range, the first range ofDBMA, is defined as "before contact is made". To most people, if no hitting is goingon, then nothing of importance is going on. Yet the idea of Snake Range is that whatis done in the absence of hitting in order to define the moment of impact (and itscontinuation) is one of the most important parts of fighting.

MA Legends

b) The Stalker: he lumbers afteryou, often with step and slidefootwork.

c) The Evader: evades and looksto counter hit.

d) The Blocking Counter Hitter: hepresses forward and looks to counterhit after blocking your strike.

e) The Posturer: he doesn't reallywant to fight. Typically Posturers strutand posture just out of reach in thehopes you will overextend yourselfdue to impatience.

f) The Salesman: uses the stickdeceptively hoping to trick you intoexposing yourself.

g) Three Card Monte: a variation of

the salesman done with double stick.It mixes the chambers of each stick(e.g. holds one high and one low) andtries to hit you with the one at whichyou're not looking.

h) The Speed Merchant: not muchpower, but he scores and moves.

i) The Troglodyte: doesn't caremuch if you hit him, he's going to hityou.

j) The Linebacker: comes after youlike a l inebacker blitzing aquarterback. He wants to crash andtake it to the ground.

There's more of course and thesetypes can be combined. For example,

a Mongo can be a Troglodyte Stalker.The Theory of Chambers is the

analysis of the physical structure ofthe man in front of you. From wheredoes he throw? Some examples:

a) From above the forehandshoulder is "the Caveman".

b) Does he finish this swing with hiselbow in centerl ine? Then he is"elbow fulcrum".

c) A "backhander" prefers to throwfrom the backhand side.

d) A "slapper" has bad form andtends to swing horizontally.

e) "Off-lead" is with the weapon inthe rear hand.

f) Low Chamber is a low forehand

position. This sometimes is in an off-lead.

g) Siniwali Caveman is with thecaveman strike in the rear, and thefront stick is a jabbing/shieldingposition (a.k.a. "paw and pow").

h) Double Caveman is with eachstick above its respective shoulder.

i) False lead is left shoulder andright foot forward, right stick in righthand or vice versa.

These are but some examples.For each of these structures youwant to know what are thestrengths and weaknesses andhave solutions.

In addition to the snakey stick,there is also "the snaky foot", whichof course is an oxymoron becausesnakes don't have feet-- but nevermind that.

There is a specific theory offootwork for this distance which wewill leave for another day.

And in the street you may not wantto engage and may want to keep thejackals away. ST. FOOM is movingyour feet and your tool(s) so as tocreate a bubble around yourself intowhich no one wants to step.

And the Skirmish is all the skills youneed for multiple situations. This ismore tactics and strategy than

particular technique. Technicalcompetence is already assumed, thusit is usually covered later in thetraining. If you can't fight one, youmay not be ready to think aboutfighting more than one-but in ouropinion the training of one on oneskills should lay the foundation formultiple player problems, not installreflexes that wil l be counter-productive for multiple players. Forexample, in DBMA we believestrongly in developing the ability tofight both leads as equally aspractical.

All of these are elements of SnakeRange in Dog Brothers Martial Arts.

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Paradox is the very essence of the Tao, so it doesn’t seem strange to anyonethat it is through a Westerner that the essence of the Eastern Arts of Thailandare being opened up. Marco De Cesaris is making the difference. The verygovernment of Thailand, involved in the organization and recuperation of theirtraditional Arts, permanently relies on this universal Italian to judge and re-organize the almost lost tradition. It was through his research and patience, thefruit of innumerable trips and continuous work, that Marco was uniting the skeinof those old Masters to whom no one was paying any attention. The traditionalforms had been passed over for novelty and the business in and around sports.However, there they were, silently, without first or last name, forming a part ofthe training that the greatest instructors used with their students. From amongthese marvels, the kata stood out, the Mae Mai forms in the Thai tradition, asecret at last unveiled in the recuperation of Thai boxing as a Martial Art. It willprobably be in the West where all of that will really take shape since there aremore and more students who are interested in the martial aspects and less inthe sportive aspects as they are lived and understood in Thailand. The life of aThai athlete is too sacrificial and distant to interest the Westerner much;however, the Martial tradition and its way of combat continue to interest andstimulate Western Martial Artists more and more for their wealth, power, andeffectiveness. Now, at last, we have their forms, another success for Marco DeCesaris. Congratulations!

Mae Mai and LookMai Muay Thai:The secret formsof Muay Boran

First part: The originsIn order to preserve

what was forgotten, ina cultural context such

as this, the wealth ofMuay Boran—that is, the

compilation of the fightingtechniques developed by the

Thai people and enriched bythe experience of all the Siam

Masters during centuries—the veryThai Ministry of Educat ion gaveprecise instructions to the NationalCulture Commission, one of the toporganizat ions in this country’sgovernment, to group and order allthe technical repertoire of the ancientThai Martial Art. This restorationeffort began the formulat ion ofconcrete study programs and acomplete technical progression thatcould also be used outside theborders of Thailand in order to helpstudents around the world learn thetrue Siam warrior Art in the best waypossible and not a watered-downversion of the same with a dubiousorigin. The result of the codification work

done by the Masters called togetherby the director of the CultureCommission at the time, Mr.Payungsak Jantrasurin, under theguidance of the maximum authority inthe material, the Grand Master anduniversity professor PaosawatSaengsawan, led to the subdivision ofall the Muay Boran empty-handmartial techniques into the five groupsthat we will now show you.The first group of principles and

techniques, denominated Chern Muay,incorporates the methods for thecorrect use of the natural weapons ofthe human body (hands, feet, tibia,knees, elbows, and head) to attackvarious sensitive parts of the body ofthe adversary: the attacks can bedirect or preceded by a feint orexecuted in combination.The second group is the Chap Ko

and concerns the work at shortdistance, also denominated hand-to-hand, in which the fighter specializesin percussion techniques with elbow,

knee, head and jo int- f racturetechniques and throws to theground.The last two groups involve the

techniques, the strategies, and themethods of use of the fundamentalprinciples of Muay Thai Boran: the 15basic techniques of Muay Thai aredenominated Mae Mai Muay Thai (orMai Khruu), and the 15complimentary fighting techniquesare denominated Look Mai Muay Thai(or Mai Kred).The first as well as the second have

been codified in a precise order, andthe neophyte would have to learnthem in accord with the set sequence,going from the simplest techniques tothe most complex in order to buildsolid bases before being able to gomore deeply into the most adequatestrategies for their own morphologyand psychological characteristics.

As with many other traditionalMartial Arts “forms”, Mae Mai andLook Mai Muay Thai are susceptible todifferent readings with points of viewthat go ever deeper. If, in fact, a superficial reading of

these seems to give information onlyrelative to offensive and defensivemovements, with a more attentiveexamination, under the guidance of atrue Muay Boran expert, they becomean exceptional source ofindispensable notions for martialcombat, until today jealously guardedand never completely revealed toWestern students.These technical sequences, whose

codification goes back, according tosome specialists, to the XIX century,teach us, for example, the systemnecessary to develop indispensableskills such as the choice of timing inthe student’s action of attack or

defense from the f i rst trainingsessions; furthermore, they teach ushow to train the sense of distance, anelement related to the last point, withoffensive or defensive objectives (seethe emphasis given to the study ofthis element in the techniquesbelonging to the myster iousHanuman style, the mythical WhiteMonkey); they supply us with a mapof the sensitive and vital points of thehuman body, along with the anglesthat must be used for striking them ina more devastat ing way; inconclusion, they indicate in a preciseway what natural weapons (hands,feet, t ibia, head, also the back,elbows, knees) to use to obtain thegreatest effect when we attack thedifferent targets previously identified.Furthermore, each Mae Mai and

each Look Mai has to be studied notonly in its basic, codified form, butalso in its principle variations (from 3to 6 variations for each form), andmust be applied with one or morecombined techniques, cal led bysome Thai Masters “devastat ingcombinat ions”. In a l l , the basicforms and the variations come toover 100 and represent the truetechnical p lat form of the sty lecurrently in use among members ofthe IMBA.For us impassioned Europeans, the

study of these principles and groupsof techniques is practically aninexhaustible source of martialinformation of tremendous value,useful in primis for anyone interestedin accumulating solid technicalknowledge for self-defense, insecundis for the trainers ofprofessional athletes who, throughMae Mai and Look Mai, canenormously improve the technicalquality of their own students with shortand long term benefits.Thanks to the Grand Masters of the

International Association AITMA(Association Institute of Thai MartialArts) with headquarters in Bangkokand controlled directly by the CultureCommission of Thailand, especially bythe Grand Master Paosawat and GMWoody and the IMBA (InternationalMuay Boran Academy)—theorganization presided over by theItalian Arjarn Marco De Cesaris, who isin charge of the diffusion of Muay ThaiBoran in Europe in the name of and onbehalf of said association (for whichDe Cesaris is the supervisor forEurope)—Western practitioners todaycan learn about these preciousnotions in a way that has never beenpossible until now. Finally we can gomore deeply into the traditions of trueThai martial combat, on the surfaceeasily interpreted but really verycomplex.

Second part: thetradit ional Mae Maicompetitions

As we have provided evidence forin our most recent reports from

Thailand, the fashion of competitionsbased on elements of the Siamesemartial tradition is, in fact, exploding inthe motherland of Muay Thai. It is withpride that we from the InternationalMuay Boran Academy can affirmhaving had an important role in the re-discovery and valuation of anenormous technical and culturalpatrimony that, according to the veryThai authorities, have been in declinefor years and practically on the vergeof being lost. For that, it was naturalthat the athletes of the IMBA wereamong the first to be officially invitedto take part in the officialcompetit ions—that have beenunfolding for some years—in theplaces most suggestive of Thailand,

directed by the country’s CultureCommission and, most recently,organized by the AITMA, the entity forthe conservation and the developmentof the Thai martial traditions.

In order to also be competit iveunder the “professional” profile, duringthese technical competit ions,denominated “fights predisposed forthe obligatory use of traditional MaeMai and Look Mai Muay Thaitechniques”, during this year the IMBAtechnicians have promoted numerousmeetings among the Europeanmembers (Italians, English, Spanish,German, Dutch, and French) toimprove the provisions of the athleteswho must confront their Thaicolleagues during the internationalchampionships, like the last one donethis year in Ayuddaya, the old capitalof the Siam Kingdom.Now we are going to look at some

of the elements that can “make the

difference” in terms of scoring on the part of the judgesduring an execution of Mae Mai.- Utilizing sophisticated movements to neutralize various

kinds of attacks, like, for example, the bridge movement inorder to enter inside the strike facing semi-directs. It’s clearthat for each Kon Muay Kee action—that is, each defensiveaction facing any strike and counterattack—there are

innumerable technical possibilities among which the athletecan choose on the basis of his own skill and knowledge of thematerial. Furthermore, it is also clear that for betterperformance (and a higher score), technical solutions thatdemonstrate a great domination of the discipline are preferred.- Executing the techniques in a correct and efficient way,

also in the case of athletes with different sizes and weights:

for example, we study how to get the most out of thecircular kick, moving ourselves backward in diagonal inorder to later react advancing. When one chooses anaction, especially defensive, it is important to keep in mindthe fact that the traditional fight with ropes, Muay KardChiek, or, without ropes (in a preceding epoch), was doneamong athletes of very distinct weights, the opposite ofwhat now occurs in sports rings. A consequence of this isthat some strategies and techniques, especially checks,blocks, and throws, in use today are not very appropriatefor confronting adversaries who are much heavier than weare; for that, it’s important that when techniques are chosento insert into the Mae Mai routines, to verify whether theyrespond to this requisite that, without a doubt, the judgesvalue a great deal. - Also introducing spectacular and efficient movements

taken from the Hanuman style in the technical routine: forexample, in the oldest forms, there are many jumping kneeand elbow strikes enacted from the medium and shortdistances, often surprising for the adversary who is notaccustomed to these devastating actions. Often thespectacular aspect is not synonymous with efficiency, butin many actions of the Muay Boran styles that havespecialized in anomalous and surprising techniques, like

the famous Hanuman style (the mythical White Monkey),one can f ind a wise combination of the twoaforementioned elements, the spectacular and theefficient. In the majority of cases, the one who prepares aMae Mai routine keeps the Hanuman elements for the lastpart of the performance, gradually increasing the difficultyof the technical executions so as to arr ive at the

hypothetical conclusion of the f ightprecisely with an attack taken from thetechnical base of that style. It’s also clearthat the judges hope that at least one ofthose techniques will be included in theexecution of the routine, and it oftenhappens that the way in which onecombines them with the rest of the actionsfavors the scoring of the whole exercise. In conclusion, we can say that the correct

preparation for participating in a traditionalMae Mai Muay Thai competition, not onlyprovides a notable development of technicaland athletic skills, but is also the mostefficient method to dominate—also in realcombat—actions that are potentially verydangerous if not trained with attention, andwhich reveal to us the true essence of a trulymartial method such as Muay Boran.

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lthough, I logically had heard about him foryears, I didn't meet monk Sakiyama Sogenuntil 2010, when a mutual friend took me tohis temple Kozenji and introduced him to me.Roshi Sakiyama Sogen was born in Naha

in 1921, at the dawn of a development of Karate in theworld, which was to be produced from the hands ofmasters such as Gichin Funakoshi, Kenwa Mabuni,Chojun Miyagi, Kentsu Yabu... legendary masters whowould export Karate in their trips to Japan's main islandand far away overseas places, as Hawaii or California.He began in the practice of Karate during his High

School years under the guidance of Master JuhatsuKyoda. Soon after, in the Teacher's College, Sakiyamaalso practiced Karate with the prestigious Master ChojunMiyagi, creator of the Goju Ryu system, while introducing

Today, Salvador Herráiz, our regularcollaborator, brings us closer to a curiouscharacter of the island of Okinawa: RoshiSakiyama Sogen, chief monk of ZenBuddhism on the island and a Karatelover, who was a disciple of the legendaryfounders of Goju Ryu. Herráiz makes us abrief outline on this important Zen andKarate Master, who widely exceeding the90 years of age, has been an example ofausterity, humility and discipline.

BASIC PORTRAIT OF THE KARATEKA MONK

A

By Salvador Herráiz, Karate 7th Dan Shuri (Okinawa)

Salvador Herraiz and Master Hokama chatting in 2010 with Sakiyama Sogen at his home, in Shuri, in the presence of a group of American karateka.

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himself into the practice of Zen, from the hand ofRoshi Matsuhisa, who was teaching in the sameplace.Sakiyama Sogen served in the Army and when

he returned home, he resumed his practice ofKarate, this time with Master Seko Higa. In 1949,in full postwar period and under Americanoccupation of General Douglas Mc Arthur,Sakiyama moved to the main island of Japan, todeepen the Zen in the Bairinji temple, founded in1620 in the city of Kurume, where next toChikugo river, the monk Sakiyama immersedhimself in the study of the Myoshinji school ofthe Rinzai stream of Zen Buddhism. In fact,shortly after, he studied in the Myoshinji templeitself, majestic place in Kyoto, founded in 1337,with more than 50 minor temples in itsenclosure.

Left: Salvador Herraiznbids farewell to SakiyamaSogen at the door of hishouse, next to the hills ofNaha, in 2012. Below: Sakiyama during

an event along with mastersMorio Higaonna and ZenpoShimabukuro.

Karate & Zen

Sakiyama continued to deepen in Zen Buddhism of theRinzai school, studying also with the renowned masterRoshi Yamamoto Genpo, in Ryutakuji temple founded byHakuin Ekaku in Mishima, Fukuoka, in 1761, and later, withthe no less prestigious Roshi Asahisa Sogen (1891-1979),in the mythical Engakuji temple in Kamakura, where GichinFunakoshi had often sought refuge to mitigate the sufferingcaused by the loss of his dojo, his son Yoshitaka and laterhis wife, in 1947.In 1970, the monk settled in the United States, where he

developed and taught Zen for two years, also impartingKarate classes. The time he spent in the USA served himto decide creating his own center in Okinawa, Kozenji, inthe heart of Shuri, a few meters from the famous andlegendary castle, where he settled on his return.Having become a Roshi, title or position of "veteran

master", that in the Rinzai school means having beengranted permission (inka shomei) from another Roshi, after

having completed the Koan study and receiving Dharmatransmission that made him successor in the line, withoutinterruption.Sakiyama is a real symbol in Okinawa. Throughout his

later life, he has enjoy a great prestige in the Zen world andespecially in the Karate circles of the island, for havingbeen also a great expert of Goju Ryu and importantmasters having come to him in search of correction andadvice. Indeed, Sakiyama has regularly participated inevents of Okinawan Karate or homages to the old masters.In 2007, when a monument to Master Gichin Funakoshi

was raised close to the Budokan, in Naha, on the occasionof the 50th anniversary of his death, Sakiyama performedthe honors along with his Buddhist rites. For years now,Sakiyama has become the main Zen Buddhism master onthe island.In 2010, along with a couple of karateka fellows from

United States and a local master, I visited Sakiyama at

home, a small building facing thetemple.Sogen Roshi had a big impact on

me, not only for his high position inZen Buddhism, but also for being asurvivor of the teachings of ChojunMiyagi and his indomitable spirit,forged after a proven l ife ofhumbleness and austerity.Sitting in one of the rooms of his

house, the prestigious monk spoke tous and none of his phrases wasempty of content and intent. His

concern was patent and he didn'twaste a moment so that traditionalvalues were not lost.Both on arrival and at parting,

Sakiyama knelt on the floor to greet us,we all did. His movements were slowand it showed that it was taking mucheffort for him to do it, but when wemade the gesture of trying to help himstoop or get up; his pride, honor anddiscipline led him to reject our help.Last time I saw Sakiyama was in

2012. I t was scarcely a few

moments, as he had to go tohospital to treat ailments that ageinevitably brings, especially afterwidely exceed the 90 years of age.As he got into a taxi, Sakiyama sawhimself in one of my books and toldme: "The next t ime you come toNaha don't forget to call me and visitme."I only hope to return soon to the

island where Karate was born andthat Sakiyama Sogen is there toreceive me!

Karate & Zen

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“TAOWS Academy. Wing Tsun Advanced”. Sifu SalvadorSánchez Wing Tsun is an excellent style of Chinese

boxing that permits a lifetime training experienceand an integral development of the individual.Its ideas, techniques, philosophy etc , it allbelongs to an ancient art and must bestudied and understood in its whole. SifuSalvador Sánchez focusses his seconddvd on the wooden dummy and howit influences all of the Wing Tsunpractice. Given that the woodendummy form is taught at the finallevels of the actual system oftoday, most practitioners thatleave the system before time don'thave the opportunity to know theideas and concepts hidden withinthe form, and they cannotincorporate them in their practice.For TAOWS academy it is veryimportant that the practitionerunderstands what he is doing alwaysand in every aspect, and for this, in this

dvd we are going to follow the sameoutline that we follow in our classes,

seminars and training sessions. Our outlinefollows six steps, the first one is to develop an

idea, what we want to achieve. The second partare the forms, Siu Nim Tao, Chum Kiu, Biu Jee, the

wooden dummy form, depending on each�s level, the thirdpart is footwork, mobility understood. The fourth pillar is Chi Sao, ChiGerk, stickiness, the soul of the system. The fifth element is nonstickiness and no contact, to know what to do in order to reach contactwith the opponent in a safe way.

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Within the reality of the attackNever before there had been so much talk about the reliability of the techniques

applied in Aikijujutsu and therefore in the arts derived thereof. Of the many e-mails I daily receive, mainly from the earnest masters, one way or another Iperceive that we are coming to the same conclusions: their functionality, seen inan empirical way and without adaptation, was only really effective to meet theneeds of ancient times ; but, even so, although it should be borne in mind thathistory is only imaginable and there is no way to confirm anything, there is a rangeof possibilities which certainly can be explained, if historical concepts have beenrelevant to the explanation of each practiced form. In other words, since there isno means of verification, we keep practicing in the belief that we are doing theright thing, which for this type of occasion is shown in the Seiteigata.Moreover, such techniques, when applied nowadays, need a strong and

coherent adaptation: different times require different thoughts and adaptations.Could it be so? Practicing the Seiteigata favors the development of the thought ofthe time when swords, spears, naginata, etc., were the most dangerous weapons.Certainly, the wisest masters have adapted these concepts and thoughts, makingthem applicable in whatever situation. The majority of them used many strategies- Heiho - as sources of inspiration and adaptation to real, empirical situations. Ifthese strategies (Heiho) are part of the studies of Aikijujutsu, for sure they will beusing the techniques of this art. No more and no less! The phenomenon will havebeen just of adaptation!If we look at it thoroughly, we can see that the principles used as a teaching

method, always involve hazard perception and various forms of overcoming it: itis interesting to observe that among the many enigmas to which often resort thedifferent peoples of Asia by an automatic habit and that demand solutions filledwith malice, there is one where the wolf and the goat (instead of lamb) also play arole. Only man can be the wolf of another man!Most of the samurai class, mainly in the Sengoku period, developed many

strategic ways to surprise the enemy; undoubtedly, these forms are applicableeven today. It's the "simultaneity of time", so often referred to by Zen masters,what makes itself present. Could we then say that Aikijujutsu is timeless, as theother martial arts are timeless? Who hasn't heard the phrase: "Put your head sothat I attack you without hesitation"? We cannot deny its timeless functionality!

Ogawa Ha

Deep down, techniques, attack and defense strategies, are grafted on us; likeeverything that exists, these also exist within ourselves. Everything, every being,everything in this world is nothing more than time. The reality of each attack is atthe time of its application! Uke and Tori share the same chalice of wisdom inrelation to time; however, each one drinks their way.No Uke stands as an obstacle to any other Tori, nor can time ever oppose any

other time: each one flows within own reality. Attack and defense, truths and lies... Is it perhaps like your relationship with yourself?There are two important aspects: practice and reality.A friend of mine used to say: Aikijujutsu is another name for pain. In other

words, he meant that the techniques practiced within these forms were designedto cause inner physical and psychological harm; they existed just to There aretwo important aspects: practice and reality.A friend of mine used to say: Aikijujutsu is another name for pain. In other

words, he meant that the techniques practiced within these forms were designedto cause inner physical and psychological harm; they existed for demolishing. Buthow can you practice something like that? Consciousness is the best medicine:the separation of reality and practice begins and ends with respect.No need to shoot someone to know that a gun can kill. The mind of the

practitioner who relies on ignorance certainly will suffer the so much longedprinciple in the techniques: efficiency! The biased mind clings to: "I want to see ifit works"; "Do it again for me to see"; "And so, will this work? But how can youpractice something like that? Consciousness is the best medicine: the separationof reality and practice begins and ends with respect.No need to shoot someone to know that a gun can kill. The mind of the

practitioner who relies on ignorance certainly will suffer the so much longedprinciple in the techniques: efficiency! The biased mind clings to: "I want to see ifit works"; "Do it again for me to see"; "And so, this works?However, we must remember, before any further manifestation, that your body

is not ready to receive a technique performed in an empirical or firmer way. Therehave been many cases of students who after questioning how a teacher mighthave carried out a technique in a more adjusted way, they've learned that hecould have broken their arm! Anyway...Now we come to the issue: it's not compulsory for the master to force

"maturing" the mind of a rigid and uncompromising student. On the contrary, hemust preserve peace and hope that gradually the student will clears his mind....This is so because, understood all conflicts, frustrations, disturbances, shocks

Ogawa Ha

and internal suffering, he must remain serene and therefore he knows externallythat this state makes him intensely active; his conscience is alive with his entiresenses alert, therefore, he is able to observe without disfiguring anything, toreview each fact in a non-biased manner.The magic of the domain, of the altering the force of Uke; the driving of his

energy and his inner transformation... we understand these placements only ascognitive and abstract; however, I am referring to the moment in which Ukeceases to be Yang and turns into Yin, when he no longer carries out any actionand becomes peaceful.Different forms of Osae (immobilization) and Kansetsu (locks and twisting) may

be examples of this moment in which the axis of Tori stabilizes itself and passesto lead the axis of Uke.

JouRiKi:Jou - PureRi - ReasonKi - EnergyIt is the phenomenon of the eternal and natural polarization of Yin and Yang

energies, which expresses in its cycles the duality of harmony and conflict -problems, stupid fights. It's at that moment when many crises are triggered. It isthe time when the world around Tori and Uke is only Mujou, impermanence. Suchis the true aspect of life and the world!Everyone has this power, but we must wake up to that moment existing

between the two; if there isn't such awareness, it will not manifest and, unless werealize it, we cannot learn about it.In any martial practice, within the various degrees of knowledge that evolution

offers us, are achieved with different types of intelligence, levels of developmentthat are proportional to the biological level conquered by the individual. For higherforms practiced in Aiki, primitive people are completely immature. They canreceive it, learn it, repeat it, possess it in appearance, but the practice fortifiedwith understanding obeys only those who are really interested in it. Knowledgecannot impose itself over experience, because it is a result thereof. So, whatmakes us flow...?In fact... nothing! A dojo doesn't partake of the same properties of a river which,

with the force of its water, leads us in other directions, regardless of our will. Thismeans that different situations lead to different reasoning. Uke, Tori, Dojo, all arepart of the interpersonal universe that sets the different conditions of a goodtechnique.

Ogawa Ha

Mainly acting as Tori, which is very different from Uke, we mustn't make themistake of thinking that a simple attack determines the moment. Even if thestudies are made in the form of Seiteigata, every move has a complete phase initself; if in the course of a movement, Uke alters his technique, then we'll havetwo phases to be completed, and so, each one will have its own past and future.Therefore, at the time that the techniques are completed, the apex of the muchsought harmony, the mind is called no-mind. Then, when the technique hasalready reached its end, the moment in which Uke no longer interacts with theinstant is also a phase complete in itself; it has its own past and future; it is thensaid that the time is the "no-time".At this stage of understanding, Tori is only the person who has executed the

technique and Uke is nothing more than the person who has received themovement. Therefore, when the moment manifests itself in the form of fluency, ithardly means itself: had it not been for the interference from both sides, nothingwould have made it flow.So our problem is not knowing what independence is; the true function of the

technique, as well as Tori and Uke characters, implies the interaction of all in asingle moment. With the comprehension of the moment, the instant, thefigurative Dojo as the pathway of these relationships, which is the behavioramong human practitioners - those who believe they are always learning,whether they are close or strange, near or distant - we will begin to understandall the process of existence and the conflict among the technique itself, how weexecute it and the reality / fantasy independence.We all love to talk about fluency, but we forget that such practice begins long

before we enter the Dojo.

"If you measure success in terms of praise or criticism, your anguish will be endless."

Lao Tzu

The point is that being an art eminently of the Japanese aristocracy, and seenas art, the pursuit of perfection arises through the inevitable: war and peace! Andfrom there, the reasoning that the center generated from the AIKI force is thecenter that in a centripetal or centrifugal manner transforms the opposite energy,shaping its jolts. But there is an extremely important axis of the using of thisforce: "Joge no Rasen-j" (spirally energy in vertical directions); and also, in thissame axis, straight flows without a break - "Oroshi".

Ogawa Ha

For Haragei masters, who are also Aikijujutsu masters, there is a central forcecalled "Ch ki", which is the eliminating force, whose reserves are located in thelower parts of the Hara. When this force is produced either by adrenaline or bydirected breathing, a pressure is generated which, by producing heat (energy),gets strong and goes to the center where it concentrates to expand its energyalong the spine throughout which runs our whole nervous system.Once you are aware of this energy and, logically, with the necessary

knowledge to use it, practices related with Aikijujjutsu or other Martial Arts ingeneral, expansion of consciousness becomes possible in such a way that thehuman being is able to unite his everyday conscience to his inner or energyawareness, in a regular or quotidian way, carefully practicing a series of exercisescombined with meditation. Soon the practitioner student feels the movement ofenergy within himself and around his body and thus, consciously, begins todirect the energy fluid to stimulate and awaken the centers that wrap the Hara.Especially nowadays, many masters use this knowledge to an awakening ofinner peace. Likewise, they lead students through an explanation of the spiralthat raises or lowers our feelings.For such masters, the heart of peace and harmony, especially the one that

expands consciousness, is the one without ego. It is respect and esteem for allbeings and learning from others; it's the right actions and the right way of life aswell as a good conscience; it's silence, blessed stillness, the most importantelement of the inner path of energy that awakens from the very center; it's neithermore nor less than Mushin!

Why "honors" generate displeasure?Displeasure stems from the fact of having an ego.

And you cannot please the ego!When we can free ourselves from the ego,

there's no more trouble. Therefore:

“He who stays free from favors and unpleasantnessis released from the idolatry of the ego.

Only he who is willing to selflessly serve can possess the Kingdom!Only to him the Kingdom can be entrusted.”

Tao Te Ching

Ogawa Ha

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t started two years ago 2012 in PhoenixArizona when the Brazil ian KarateOrganization headed by the dynamic trioof Marco Ferreira, Julio Bassan, andSamuel Ferreira were awarded the 8th

WKO World Karate Championships.They immediately went back and started to

put the event together uti l izing all theirresources and contacts.The Championships started on Friday

morning at 10:30 am November 21st 2014 withall Kyu belt and children's divisions ending at7:30 pm right on schedule and then Saturday itwas time for the Black Belts to take the stagefront and center. The competition was kept under control by

head referee Rui Marcal of Brazil and ArbitratorSpain's Dr. Eloy Izquierto from Valencia.Two strong teams of men fighters from Brazil

including some of the best fighters Brazil has,coming from Curit iba and Brasil ia wereexpected to run away with team fighting but theUnited States team directed by Adrian Ellis wonthe Team championships. The Americans whoonly had two fighters adopted Sweden's Lucas

2014 WKO WorldChampionships

The stage was set for the 8thWorld Karate Championships inCurit iba Brazi l but no oneexpected it to unfold the way it did.It turned out to be one of the

most amazing events I personallyhave ever attended forcompetit ion. It was not thebiggest but it had all the makingsof one of those events that willgo down in the memory of all theattendees that they will neverforget.

PresidentDon Warrener Ph 1-818-891-1133Cell 1-310-926-7808donrw@earthlink.net

I

Karate

Bokelius to form the team. Then they importedCanadian coach CONROY COPELAND as theirofficial coach as Adrian Ellis was enlisted as anofficial.The team ended up being dubbed the United

Nations team instead of just the United Statesteam.In the women's forms it was Canada's Marcia

Budd Scheneff who walked away with the WorldChampion title. Her form was excellent and atotal credit to her Sensei Dave TURKOSKI fromBrantford Ontario Canada. TURKOSKI fromBrantford Canada brought a team of nearly 40competitors coaches officials and teamassistants.When it came to men's forms the decision

was easy to make. Although there were goodforms done by Ian Pollet of Australia, know onewas in the same league that day as the Braziliansuper star Champion Mario Hayashi Jr. His"Unsu" kata was simply flawless and his scoresshowed all why he really was the best in WKOon that day in kata competition.The Australian team headed by Ian Pollet was

very strong with his wife 5 months pregnantwinning her division in kata.Women's KUMITE competition seen Brazil's

Cinthia Carolina Costa take top honors beatingout Canadian Mary Power in a great fight. Herlong arms, great timing, and solid defense wereher keys to winning the gold medal.When it came to the grand champion in

kumite Mario Hayashi Jr. once again stood talland beat Brasilia's Wilson Miranda in the finalmatch.Hirokazu Kanazawa once said that the mark

of a true champion is one who can win firstplace in both kata and kumite at the samechampionships. Well if this is the true standardthen I guess we can say Hayashi is a truechampions champion.The WKO is much different then other

international karate organizations as they aregoing back to the original essence of JapaneseKarate by applying the original principles ofkarate especially the word Zanshin which has amuch deeper meaning then just focused mind.

Karate

The deeper meaning when applied tocompetition is that of a good win and bad winare quite clear. As are a good loss and a bad loss.For example if when fighting you score a point

on your opponent and you do not celebrate oranything just simply accept it this is what we areafter as jumping up and down, celebrating inyour opponents face is disrespectful.A good loss is again when you simply accept

the decision and a bad loss is when youcomplain about the results. This is the job ofyour coach not you and again this needs to bedone with respect for your opponent.Celebration is of course permitted outside

the ring.So the WKO will disqualify you if you do not

exemplify the true spirit of positive Zanshin anddisplay always a good win and a good loss.The other thing that makes WKO different is

the promotion of its winners as they are notpromoting the directors but they arepromoting the CHAMPION'S and they will dothis thru web sites, face book and Twitter plusBudo International Magazine plus they will puttheir faces in front of Hollywood directors and producers in hopes of landing them rolesin films.In other words WKO is all about the

competitors not those who run the organization.The other interesting distinction is that WKO

has as its ultimate goal camaraderie betweennations and the exchange of different culturesas the World Championships moves from onecountry to the next. The president Don Warrenersaid that this is our little bit towards world peaceand it may be a dream but it is a good dream.This year was no different as the Sayonara

party hosted by the Brazilians featured a feastfor a king. Brazil is well known for what they callChurrascuria (BBQ) which foreigners often calla cholesterol overload as they brought out atleast 30 different plates and they even had aperson who looked like Argentina's Eva Peronsinging Opera to the room which was packedto the brim. Close to 100 people for thebanquet alone.Watch Budo International for in depth articles

on these young guns of the future as we presentarticles on each of them and how they becameworld champions.

Karate

http://www.revgearuniversity.com/

http://www.worldprotectionagencyllc.com/

http://budointernational.com/en/

http://budointernational.com/en/

All Martial Artists work in 3 - 5 dimensions with the 4th & 5th being in the moreadvanced practitioners' realm. Each dimension has a dual meaning when utilized inconventional Martial Arts and a secondary application when applying Kyusho. Theconventional or rudimentary level or scientific explanation is sound physics andathletic in nature whereas the Kyusho explanation is more rooted in micro physicsand greater depth. It is this micro physical attention that allows the Kyushopractitioner another level of application and affect.

This is not a typical Martial Art topic as it is based more in the scientific realm,but it is at the core of all Martial Styles, as is the use of Kyusho. The intended goalof this article is to illustrate the difference in these staid laws from typical MartialArts to Kyusho.

The 5 Dimensions of Kyusho

Kyusho

The 5 Dimensions of Kyusho

1st Dimension In regular Martial Arts practice the first dimension is distance… the

range if you will to deploy your methods or art. This is in all schoolsand lessons, but there is more than the simple scientific application,there is the internal application (or Vital Point if you will). When applying Kyusho, this dimension is considered more as

Depth or level of Penetration. In regular Martial Arts we strike theexterior as hard and fast as we can, however the body has naturalprotections to maintain life. The body may break, but this in affectdisperses the force so that deeper penetration is averted. Of coursewith greater force than protective capability there will be seriousramifications, but this is extremely difficult to achieve in a typicalapplication… just look at the abuse the MMA fighters can endure.Most MA look at the distance between themselves and their

opponent, but they do not look into that opponent, nor do they seekto reach inside them. They only seek the shell whereas the Kyushopractitioner goes deeper into the first dimensional space.

The 5 Dimensions of Kyusho

Kyusho

So then what would the second MA dimension be (in natural lawterms)?

2nd Dimension Now the second dimension in MA is of course angular moves off

the original distance line, or the line of approach or escape. Inscience this is the Y axis of the X axis of the straight line... andyields huge advantage as well as disadvantage. This is forleverage, avoidance, redirection and a host of other physicalmotions of one to take advantage of the opponent.But the second dimension for a Kyusho practitioner is the

internal angle of attack on a specific anatomically weak target tomaximize the affect and internal dysfunction. This is crucial if weare to supersede the natural protections and energy dispersingattributes of the external body. We must penetrate at variousangles to get between muscles, tendons and bones to access thenerves and blood vessels for maximum affect or destruction.

These first two are easily understood even by the beginner ofeither discipline, the next dimensions pertain to those moreadvanced practitioners in either.

3rd Dimension The third dimension is height or in its most basic terms

perpendicular to the X-Y axis (Z). So how is that used in typicalMA?The 3rd dimension can enable the MA to use height of the strike

once off the straight line and into the second dimensional plane. It

The 5 Dimensions of Kyusho

Kyusho

“The better definition thathelps people not only

understand to a higherdegree, but also enables them

to actuate Kyusho affectsmore effectively and

efficiently is ‘Trajectory’”

could also be realized by dropping or lifting an opponent oryourself for a selected technique and forcing a new angle or plane.So how could this relate to Kyusho? The third dimension is

used once in contact with the anatomical structure, be it nerve,blood vessel, tendon or organ in order to stretch, tear, compressor rupture that structure.Now the first two dimensional attributes most Kyusho people

learn and can do (not all). The third is what separates many abetter skilled Kyusho practitioner as they add the twist, the cut,that little extra that increases the affects.Now it is the fourth Dimension fully exploited by very few is

actually common knowledge displayed by most.

4th Dimension So what is the 4th dimension in Martial Arts? It is Time.They say timing is everything, well maybe not but it is high on

the Martial Artists list… and what separates the truly advancedpractitioners from those not yet developed. If you are a splitsecond faster in a situation you have advantage, if you are asecond late you are at disadvantage.

In Kyusho the time factor is twofold:• The aspect of time on target is a key factor as some targets

are better struck quickly, others need more time on the targetdepending on the structure you are attacking, the surroundingstructures and the depth (1D) of that target. • The other aspect is staggered timed hitting, avoid striking in

the same space of time, for greater affect (unbalancing of thephysiological systems) you must alter it, change the timing of thestrikes so the opponent's body will not expect the next hit and willnot be able to defend against it as readily. This even extends to

The 5 Dimensions of Kyusho

Kyusho

The 5 Dimensions of Kyusho

Joint Manipulations whereas you should not maintain thesame pressure for a long time, as the body can adapt.

5th Dimension So what is the 5th dimension in Martial Arts?In science the 5th dimension is consciousness, this

allows perception of all other dimensions, relating it to thefuture, the past, variations off that linear time path as well.It can also be called awareness or intuition (all fromexperience). A prime fighter has this awareness in the ring,the soldier has it on the battlefield, they sense trouble oreminent threat and are prepared.Those who have ever had a close brush with death as a

result of an accident or nearly being in an accident, mayhave noticed, that their mind starts moving more slowly inthese situations also. Everything appears to happen inslow motion. They are in the 5th dimension consciousnessin these situations and their perception of time slowsdown.

In Kyusho this dimension is again twofold:• First there is empathy, feeling the action or intent (this

is developed fromtaking the Kyusho as well as givingit)…and predetermines the success of the strike, or thefailure of it in accomplishing the task. If you know what anattacked target does physically (from experience), you canapply it far easier and with greater success.• Second is knowing exactly what you are attacking and

the reactions of the body when we attack/stimulate thosestructures. But more than that already knowing how thatperson will react physically, mentally and or spiritually (willthey still have the will to fight).

So to engender the 5dimensions of Kyusho (alongwith those of Martial Art):

1. First the student must learn that the need apenetrating attack or manipulation and they get a slightreaction.

2. Next they must begin to use betterangles (and weapons) to more accuratelypenetrate to that correct depth and withless resistance of surrounding structure.

3. Then the need to stretch, twist orcompress the under ly ing physicalstructure (nerve, vascular, organ) in themost advantages way for the desiredresult.

4. They must learn to stagger timing aswell as pressure to unbalance thephysiological functionality of the opponent.Finally they must know what the attack

feels like, how the opponent will feel, reactor fal l so they can escalate or usestrategically for multiple opponents.

5 Dimension synopsis:1. You need to "FEEL" the structure.2. You need to "FEEL" the way you compress

it (with stretch).3. You need to "FEEL" the structure give way

to your strike, manipulation, etc.4. You need to "FEEL" the affect through

empathy that it causes in the opponent orpatient.

5. You must "FEEL" the opponent crumble,jump, relax, etc. as this will tell you all you needand open so many more possibilities.

So how do we accomplish all of this?Through experience and the use of Trajectory.As we look at this photo of a bullet travelling

through gelatin, we are allowed to see the very differencebetween conventional ballistic attack and that of Kyusho.If we see the cube of gelatin as the human body and the

distortion as the affects of a ballistic strike on that body wegain a very valuable insight. With a heavy blow from fist,elbow, knee or any blunt weapon, we see that at thesurface and even interior, there is a massive trauma orexpansive affect on that structure. It's force is capturedand absorbed as it dissipates within the structure at thepoint of impact. Yes it damages the tissue or integrity butis solely dependent on the amount of force utilized.The idea of Kyusho which can be depicted by the bullet

traveling on a path through the target on a specified paththrough space and object, is vastly different. But first wemust get terminology straight as the confusion lies withthis.In Kyusho the typical manta is “Angle and Direction” and

on the surface, (pun intended), this is a valid approach, yetvery limiting.

Angle: translates into the way your weapon approachesa specific target (some still call a pressure point), it is adescriptor of your physical action. This is from a startingposition to a finishing position, front to back, high to low,low to high, right to left or left to right, etc.

Direction: translates into a course along which someoneor something moves and can mislead the new practitionerin the study of Kyusho. It is also why many try fruitlessly torealize great affects but fall short… unfortunately also whymany give up, stating that Kyusho does not work.The better definit ion that helps people not only

understand to a higher degree, but also enables them toactuate Kyusho affects more effectively and efficiently is“Trajectory”.

Trajectory: is the path followed by a projectile flying oran object moving under the action of given forces throughspace or object. In Kyusho that is everything as we seekto send our kinetic energy toward a specific path in thehuman body not at the site of impact, but deep into the

Kyusho

The 5 Dimensions of Kyusho

“In science the 5th dimensionis consciousness, this allows

perception of all otherdimensions, relating it to thefuture, the past, variationsoff that linear time path

as well”

Kyusho

core. We do not seek to traumatize the exterior or the shellof the body and all structures, instead we seek a trajectoryalong an accessed structure to the core. In Kyusho this isthe central nervous system (spinal column and brain), viathe nerves.This is why there are no injuries in Kyusho as we are not

using, nor do we need, heavy blunt trauma or power. YesKyusho will sti l l work l ike that as this picture alsoillustrates, the damage can be inflicted and the trajectoryalso realized. But in the training the importance is placedon the trajectory and reaching the core with as minimal aforce as possible. Once that is trained and ingrained,adding force (if ever needed) will ofcourse multiply the affects (andlegal issues)… for a even morereliable protection.We see in MMA now the hard

realities of this as well. We seethe heavy force and brutality,that is often absorbed andfought past… but every so often

we see the proper trajectory used in a location that evenwith less power, incapacitates the opponent. But this andmost Martial Arts are of this Yang nature and is notconcerned with the inner workings as much as destroyingthe outer aspects.And as a Yin comparative, we look at the skill of

Kenjutsu or the Japanese Sword styles. They do not useforce to make their cuts, but instead use trajectory to gothrough the outer… this is what Kyusho is all about, orshould be.It is not the power, it is not the angle or direction… it is

all in the trajectory.

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hen a situation occurs where you mayfeel threatened your body willautomatically go into “survival mode”.When this happens a series of changesoccur within us. Without getting toodeeply into the aspects of survival

mode, what we are most concerned with is the loss of FineMotor Skills, i.e. inserting a key in a lock, picking somethingsmall up with two fingers or writing neatly with a pencil.What takes over are Gross Motor Skills which are bigmovements; arms extending forward, upward or downwardin big motions. Just watch internet videos of real attacks.You will notice the majority of people move the same whensurvival stress kicks in. Even in professional boxing andmixed martial arts GMS dominate. The only difference withpeople in competitive sports is that they are using what Ilike to call “Trained Gross Motor Skills”.Now if you look at the Stick Work of FMA you will notice

that most of the movements fall into the description ofGross Motor Skills. The drills experienced in the FMAClass hone your GMS to strike in a certain way specifictargets of an attacker's body. It teaches your musclememory how to have your body react and move. Nowtake away the sticks and do the same movements empty-handed. Now add a knife in your hand or a machete.Then take these skills and use them to defend against anattacker wielding a weapon. All of these use the sameGross Motor Skills with minor adjustments.

Why is Kyusho a great companion to FMA?Kyusho Targets are specific areas on the body that we

manipulate to take advantage of anatomical weaknesses.The external body was designed by nature to take abuseand can cope with hits from the FMA Stick. Byunderstanding how to manipulate the Kyusho Targets wecan affect the internal systems of the body and bypass ourbody's natural defenses. With Kyusho we focus on severalanatomical systems to cause physical dysfunction andpossibly affect the opponent's level of consciousness.

These systems include the nervous, respiratory, muscularand skeletal systems. When we strike Kyusho Targets weare actually attacking the internal body as opposed to theexternal structure. Kyusho has been tested not just on thetraining floor but in many real life situations, all underadrenalin pumping stress using Gross Motor Skills. Asmentioned earlier, the stick movements of FMA are basedon GMS. Now we take this set of movements that focuson your body's natural defensive reactions and apply themto a multitude of defensive as well as offensive maneuversaiming at Kyusho Targets. When working with the Stick wehave a certain intent and flow. The intent used whenstriking with a stick fits perfectly as the first step toactivating Kyusho Targets. The flow action of FMA enablesus to hit a series of targets. Kyusho makes our strikesmore affective to achieve optimal results.In a series of three articles we will explore the benefits of

Kyusho to the Filipino Martial Arts, specifically using theKyusho International Curriculum. The first will be on howKyusho fits into the use of the stick in long, medium andshort ranges. The second article will look at the knife,using the weapon as well as defending against it. The thirdcovers Hand-2-Hand.

Let's look at some examples.In all three ranges we can use the stick to strike nerve,

muscle and tendon. These are not struck the same wayand the reactions are not the same. Knowing how theattacker is going to react helps you with your follow up.

Long RangeStepping to the right, right stick blocks attack. Left stick

attacks the Target known as GB-26 which is the Iliac Nervefound just above the hip bone. This will cause severe pain,loss of physical motor function of leg, release the joints ofthe hip and knee and cause rapid withdrawal. You cannow follow up with the end of the right stick striking thecranial nerves on the side of the head by sliding off theskull causing pain and affecting consciousness.

W

Getting to the outside of our opponent we strike into the hamstring muscle then downward, stretching the fibersaffecting the Muscle Spindle Cell* causing it to contract. This will bend the opponent's knee exposing a nice follow upstrike to the occipital nerves on the back of his neck with the end of the stick. These nerves are well known for alteringthe state of consciousness.

Medium RangeMoving to the inside we use a “stop block”. Grab opponent's stick hand with your left. Coming underneath the arm,

strike using the punyo (butt-end) of the stick to the Target known as SP-21, lateral branch of the T5 nerve, which ismidline on the side of the body between the ribs. This will cause the diaphragm to spasm, affecting the breathing as wellas cause intense pain and dizziness. Follow this by bringing your stick under his arm and attacking the Golgi TendonOrgan**, Target TW-11, just above the elbow with a quick rubbing action hyperextending the elbow.

A backhand strike is delivered. Step to the left and as you apply a “stop block” strike the Ulna Nerve, Targets SI-5,above the wrist pinching the nerve against the bone. This will cause much pain and open the hand. Physical dysfunctionand dizziness can also occur. With your palm up “punch strike” with the stick to the side of the neck attacking CervicalNerve, Target LI-18, inward and upward. Not only will this cause severe pain and physical dysfunction of the whole bodybut will also alter the level of consciousness, affect the breathing and cause an extreme headache.

Close RangeClosing your range and getting to

the outside, position yourself behindthe opponent. Strike down with thepunyo to the Trapezius Musclemidway between the shoulder andneck. This Target is known as GB-21.As you strike downward you can alsorub the muscle towards the shoulder.This wil l affect a branch of theAccessory Nerve as well as cause aMuscle Spindle Cell reaction.Because two Anatomical Systems areattacked the whole body weakens,severe pain is caused, there is a lossof physical motor function,consciousness is altered andcoherent thought is lost. Now slipyour stick across opponent's faceunder the cheek bone and roll up onTarget SI-18/ Facial Nerve, executinga face choke. This will affect thesomatic nervous system causing aloss of motor control as well asaltering his level of consciousness.

Thank you Freddy Gonzalez and Andrew Ng forassisting with the pictured examples.Tom Gallo, founder of T.A.C.T.I.C.S., is a Certifying

Instructor with Kyusho International; member of theKyusho-Jutsu Kokusai Shihankai: InternationalAssociation of Kyusho-Jutsu Master Instructors;KTCP Instructor: Kyusho Tactical Control Program;trained in several Filipino Martial Arts Systems andhas a Black Belt in Hwarang Do. He is currently teaching FMA, KMA, Kyusho and

Close Quarter Tactics in New York.www.TomGalloTACTICS.com

Opponent delivers a forehandstrike. Close in by crashing intothe arm. Your left stick strikes theinside forearm at the PC-6Target/Medial Nerve and thetendons. Your right stick strikesthe center of the bicep, NU-E-9Target/Musculocutaneous Nerve.The will cause dysfunction in theentire arm. Control the opponent'sright arm by wrapping your left armaround it. As you do this, using thepunyo of your left stick, strikeTarget GB-22/lateral branch of theT3 nerve, on the side of the bodyjust under the armpit. With thepunyo of your right stick strikeTarget TW-17 which is a branch ofthe Facial Nerve located under theearlobe on the back of the jawhinge. This combination will affectbreathing and consciousness.

*The function of the MuscleSpindle Cell is to prevent themuscle from damage by beingoverstretched. By activating theMSC the muscle tenses andcauses the body to contract.**The Function of the Golgi

Tendon Organ is to prevent themuscle from being torn from itsorigin and/or insertion by asudden increase in tension. Byactivating the GTO thecorresponding joint becomesvulnerable and hyperextends.

You are not drastically changingwhat you already do with thesticks, just making slightadjustments.In the end even if you do not

cause a “Kyusho Effect” you arestill hitting anatomically weak areasof your attacker.Caution is needed when applying

these strikes. Always use safetyequipment. Do not use a rattanstick to strike anyone's head.Always train with a Certif iedKyusho Instructor.

Always with the Ochikara, "The Great Strength" (called e-bunto in the Shizen vernacular tongue) or secret wisdomof the ancient Miryoku Japanese shamans, as a backdrop, the author takes us into a world of genuine reflectionsthat are capable to move at once both the reader's heart and head, thus placing him continuously in front of theabyss of the invisible, as the true final frontier of personal and collective consciousness.

The spiritual taken not as religion, but as the study of the invisible, was the way of the ancient Miryoku sages toapproach the mystery in the framework of a culture as rich as unknown, to which the author has wholeheartedlydevoted.

Alfredo Tucci, Manager Director to Budo International Publishing Co. and author in the past 30 years of a largenumber of titles about the Warrior's Way, offers us a set of extraordinary and profound reflections, which can beread individually in no particular order. Each one of them opens up a window to us through which we can take alook at the most varied subjects from an unexpected angle, now dotted with humor now with forcefulness andgrandiosity, placing us in front of eternal matters with the view of the one who has just arrived and doesn't agreewith the common places in which everyone coincides.

We can affirm with conviction that no reader will be indifferent to this book; such is the strength and intensity ofits contents. Saying this is saying a lot in a world crowded with collective mangers, interested and behavioralideologies, manipulators and, in short, spurious interests and mediocrity. It is therefore a text for big souls andintelligent people who are ready to look at life and mystery with the freedom of the most restless and scrutinizingminds, without dogmas, without transient morals, without subterfuges...

or the first two thousand years ofmartial arts history there was never aquestion that warriors should, indeedmust, engage in some form of“martial” training. In fact, we all knowthat, originally, “martial disciplines”

were developed exclusively for warriors trainingand designed specifically for the battlefield. Afterall, the word “martial” comes from Mars, theRoman god of war! And we know from historythat, for many centuries (both in Asian andWestern traditions), martial arts training (withweapons and unarmed) was reserved to thewarrior classes. The Spartans, the KnightsTemplar and the Samurai are just a fewexamples that quickly come to mind. The martialtraining of those warrior classes evolved, overthe centuries and across many cultures aroundthe globe, into hundreds of styles and systems,many of them familiar to us today as martial“arts”. It must be noted, however, that themajority of a warrior training was, for centuries,

My last two articles dealt withan interesting but highlycontroversial issue that has beendebated in our industry forseveral decades: the role of themartial arts ( if any) in thetraining of police forces. In thisarticle I want to continuechallenging our readers bypresenting and discussing anequally interesting andcontroversial topic that has beenpart of our culture since thebeginning of modern history: therole (if any) of the martial arts inmilitary training.

F

Grandmaster John Pellegrini

“For the first twothousand years ofmartial arts historythere was never a

question that warriorsshould, indeed must,

engage in some form of“martial” training”

dedicated primarily to the use of weapons whileunarmed combat was seen only as a last-resort,“default” option, when weapons had failed orwere not available. With the martial arts and the military so

inextricably connected throughout history, thereshould be no disagreement as to their role in thetraining of combat troops. But, beginning in the1970s, certain military “experts” (some of themcivilians with no combat experience) startedasserting that martial arts training for modernarmies was not relevant to today's battlefieldconditions and advocated not “wasting timeand money on such obsolete and uselesstechniques”. Some reluctantly conceded that, atbest, some martial arts training could havesome benefits as “physical exercise” or as“competitive sport”. Their argument rested on the following points:• Modern soldiers carry high-tech weapons.• Modern soldiers carry a lot of gear (up to 65

lbs. / 30 kilos).• Modern soldiers almost NEVER engage in

hand-to-hand combat. For those reason, martial arts techniques are

impractical, unnecessary, and possibly evendangerous to the soldier.I will now present the opposing argument in

favor of expert, practical and effectivemartial arts training for modern soldiers. I

believe to be properly qualified in this areabecause of my real-life experience, trainingmilitary units around the World for over 25years. Those experiences include NATO troopsin Europe, counter-terrorism unit in Colombiaand elite Army units at U.S. bases. I also hadthe honor and the rare privilege to have trainedU.S. and Allied troops in Afghanistan (2006) andIraq (2008). I also served (1968-1969) in the eliteParatroop division of the Italian Army.Now that I have established my credentials

and expertise on the subject, here is myargument in favor of martial arts training for the

“More and more,military units around the

World are called toconduct “peacekeeping”,

“nation-building”,“community-policing”,

“disaster relief”, “crowd-control” and other“humanitarian

assistance” missions.Martial arts skills willhelp protect the troopswhile minimizing the

violence”

Grandmaster John Pellegrini

“Martial arts trainingcontributes significantly to thedevelopment of the warriorethos. For centuries, the

blending of physical, mentaland spiritual discipline

required by hand-to-handcombat training, has greatlyassisted in the overall forging

of the warrior spirit andmindset”

military, based on the followingpoints:• Martial arts training

contributes significantly to thedevelopment of the warriorethos. For centuries, theblending of physical, mental andspiritual discipline required byhand-to-hand combat training,has greatly assisted in theoverall forging of the warriorspirit and mindset.• Because of the increasingly

strict “Rules of Engagement”imposed by governments andinternational organizations (andscrutinized by the media) onmodern warriors, additional(less-than-lethal) combat skillsmust be incorporated in thetraining, especially regardingtroops interaction and dealings

with civilian populations.• In certain situations, soldiers

are tasked with capturingenemies alive for intelligencevalue. Empty-hands controllingtechniques are necessary. • During the interrogations of

prisoners, the personnelinvolved will almost always beunarmed. Again, empty-handsskills are vitally important.• More and more, mil itary

units around the World arecalled to conduct“peacekeeping”, “nation-building”, “community-policing”,“disaster relief”, “crowd-control”and other “humanitarianassistance” missions. Martialarts skills will help protect thetroops while minimizing theviolence.

• Lastly, weapons (high-techor not), even when promptlyemployed, may malfunction, runout of ammunition, can bedropped, taken out of thehands, or, when suddenlyneeded, may not beimmediately available.I think you will agree that we

have proven the case for theusefulness, importance andwisdom of competent andrelevant martial arts training fora modern, professional military.It is our duty to convince thehigh-ranking leadership as wellas the individual soldier of thebenefits our training has to offer.And let's hope that theaccountants and the politicianswill not be the ones to make thedecisions.

“In certain situations, soldiers are tasked withcapturing enemies alive for intelligence value.

Empty-hands controlling techniques arenecessary”

“ It is our duty to convince the high-rankingleadership as well as the individual soldier of thebenefits our training has to offer. And let's hope

that the accountants and the politicians will not bethe ones to make the decisions”

Reality-Based Police Baton Tactics

Officer Judy Ochoa called for back-up. Shewas about to make an arrest and neededadditional officers. I was just down the block, soI got onto the radio to the dispatcher and said,“I’ll assist. Put me on the call. I’m almost 97.” As I put my patrol car into park and walked

down the alley I could see Judy talking to aman who looked more like he was ready for thebeach than to go to jail. He was a well tannedman in his 30s, bleach blond hair, wearing aHawaiian print shirt, tan shorts, and sandals.Coming up the alley behind me was Officer TedWilliams, who also placed himself on this call.He was a short muscular guy who you wouldwant next to you if someone decided to fight.But, by the looks of this guy that Judy wasabout to arrest, it did not look like a fight wouldtake place.The suspect was wanted for drunk driving.

He had been running from the police for twoyears, and now he had been caught. Instead ofgiving Judy a hard time, he was polite and veryapologetic. He said to us, as Judy had himplace his hands behind his back, “I’m really

Jim Wagner has already beenopening up the world ofprofessional defense to civiliansfor some years, but withoutleaving aside his central focus asan expert among professionals.Today we present you with hiswork (also, as is customary,available on DVD) in which heanalyzes the work and tacticsproper of the American policebaton. Apart from the specificsof the weapon, this tactical workcan be extended to otherdefenses that are more commonin other countries in Europe andSouth America. A new work notto be missed from an expertrecognized around the world.

Police Techniques

Arms

sorry for this. I have wanted to turn myself in for a longtime. I’m glad you are here so I can take care of thisonce and for all.” I offset myself in front of him, andOfficer Williams did the same. Judy, who was behindthe docile suspect, pulled her handcuffs from herleather case and pressed the metal against his leftwrist. We formed a tactical triangle around the suspectfor safety. This was going to be an easy arrest.Suddenly, the suspect grabbed Judy’s right hand

before she could get the cuff on the first hand. Withhis free hand the suspect whipped around and caughtJudy in the face with a solid backhand. The force ofthe strike caused Judy’s head to snap back and theimpact split her lip. The suspect knew he could notget past me and Officer Williams, so he broke freefrom Judy’s hold and bolted sideways and startedrunning from us. I immediately took up chase andcaught up with him down the alley. Officer Williamshad managed to grab the man’s right sleeve, tearing itviolently, but the suspect started to swing his armslike a windmill hoping to land one on each of us aswell. From my peripheral vision I could see that Judyhad recovered from the shock of being struck, andwas charging up the alley to join in on the fight.However, I was in no mood to fight, and I certainly didnot want to get hit by this deceiver. I instantly reacheddown on by right side, just in front of my pistol, andgrabbed the handle of my telescoping baton. I pulledit out of its holster, brought it up to shoulder height,and then swung as hard as I could against thesuspect’s shin that was just about to kick me. I hearda thump like one would hear when hitting a hangingrug to rid it of dirt. The man screamed out, “Okay,okay, I give up!” It only took one hit with my thin metalbaton to take the fight out of this man. Although I wasready to give him a second str ike, his screamconvinced me that he was done, and he was. Lyingon his back on the warm summer asphalt, he put hishands up in surrender. Officer Williams cuffed him,and I put myself between Judy and the suspect,because I knew that she wanted to get at this guy forwhat he had done to her. This event took place a few years ago when I was a

patrol officer for a police department in SouthernCalifornia. Since then I have worked in dignitaryprotection for the Sheriff’s Department and counter-terrorism for the United States government. I amcurrently assigned as a Weapons and DefensiveTactics instructor, and am teaching others how tosurvive dangerous confrontations. I have not hitanyone with a baton since this event, and I hope I

Police Techniques

“Learning individualstrikes and blocks isobviously necessary,but they would beworthless withouttrying them out inconflict exercises”

won’t have to in the future. However, learning how to use animpact weapon and maintaining those skills is vital to policetraining, and for most of you, civilian self-defense training,be it with a stick, a broom, or a tool that you happen to pickup in a crisis situation.

Keep It SimpleBefore I was a police officer, I was a martial artist first. In

fact, I was one of Dan Inosanto’s original Jeet Kune Do /Filipino Kali students back in 1978. I trained extensively withDan Inosanto, Richard Bustillo, and later with Ted Lucay justas the Filipino Martial Arts were starting to gain popularity.They did not gain real popularity until the late 80s. For years I had always thought that the Filipino Martial

Arts were the most superior systems around when it cameto bladed and impact weapons. I was not only a devotedstudent, but became an even more devoted instructorpassing down to my students what I had been taught as if itwere the Gospel. It was not until I was in the police academy in 1991, in

my baton training course, that I realized that actualconflict with a baton was much simpler than the way I hadbeen practicing all those years. And, of course, when youenter your first real fight with a baton, all the fancy stuffgoes out the window. Now, I’m not faulting my instructorsfor what they taught me, but there is definitely a difference

between traditional-based Martial Arts and the reality-based Martial Arts. The first is based on ancient conflict(old training methods and techniques) and the second isbased on modern conf l ict (what gangs are doing,criminals, terrorists, etc.). When you are protectingyourself for real, you will resort to gross motor skilltechniques. Gone are the spectacular twirls, the loosegrip, the pretty fan moves, and multiple taps that aresupposed to represent strikes that are found in most

Arms

Martial Arts weapons classes. When you are ina real fight with an impact weapon you end upswinging that weapon like a gorilla. It’s notpretty.A few years later, in 1995, I trained with

Steve Tarani and took a seminar withGrandmaster Leo Giron to see if anything hadchanged since my JKD days, and it had not. Ihave not been back since, although I’ve hadquite a few JKD students come to me. One ofthem is David Cheng, who just wrote a booktitled Jeet Kune Do Basics (Tuttle Publishing,2004).

Now For CiviliansSince 1992 I have trained literally thousands of police and

military personnel in Defensive Tactics, which includes theproper use of impact weapons. Coupled with my ownexperiences on the streets as a police officer I havedeveloped a rather easy-to-learn and applicable system thatwill work in real conflict situations. Up until 2001, myteachings were restricted to government entities. Then in2001, after the terrorist attacks on the United States, I cameto realize that civilians needed to know how to protectthemselves as well, and I just didn’t see a lot of civilianMartial Arts instructors who were providing their studentswith realistic training. One of the reasons for this is that very

Police Techniques

few civilian Martial Arts instructorshave been in real confrontations,especially with weapons. Most civilianinstructors learn from other civilianinstructors and have no military orpolice background. It’s an importantconnection because the military dealswith enemy combatants and thepolice deal with mentally unstablepeople, criminals, and in some casesterrorists. These, of course, are theenemies that anyone of us can endup facing. Knowing this, publisherAlfredo Tucci of Budo Internationaland I got together to produce a newDVD titled Reality-Based Police BatonTactics. This new DVD is everything aperson needs to know in learning howto use an impact weapon. Although itis geared for security and policepersonnel, the concepts and trainingexercises are exactly the same forcivilians who may be armed with animprovised weapon for self-defense.

What Makes It WorkThe system, l ike my new DVD,

starts off by showing the student theimpact areas of the human body. In areal confl ict you cannot just hit a personwherever you like. Your strikes must fall withinthe proper legal use of force. For example, if youare striking an unarmed attacker with a stickbecause they are trying to kick you, the properplace to strike would be large muscle groups, likethe arms or the legs. On the other hand, if acriminal is about to pick up a gun from the floorin order to shoot you, you may have no choicebut to strike a RED ZONE target such as thehead, spine, or groin. Like any fight, it al ldepends on the totality of circumstances.Once a student knows the legalities, they are

taught how to warm up with the weapon andhow to hold it in a conflict situation. Of course,the proper grip is the fist grip. This grip is nodifferent if you are slugging someone, if you’vegot a knife in your hand, or a gun for that matter(the only difference with a gun is that the indexfinger is along the receiver or on the trigger).Almost everything we do is with the fist. That isour primary striking tool. The proper stance when holding an impact

weapon is to have the body bladed with theprimary hand back holding the weapon. If you areright-handed, like 80% of the population, then

Arms

Police Techniques

“The properstance

when holdingan impact

weapon is tohave the bodybladed with the primaryhand backholding theweapon”

“There are only 12 angles in whichto strike the human

body”

your primary side is your right side. Ifyou are a lefty, then your left side will beback. However, if your opponent is alsoarmed with a non-projectile weapon,you may lead with your primary side inorder to have a better reach.There are only 12 angles in which to

strike the human body. In the system,and in my new DVD, I cover all 12angles step-by-step. These angles areno different than the way the ancientEuropeans, Filipinos, or the AmericanApache Indians for that matter, hadestablished them. Even the new UnitedStates Marine Corps Martial ArtsProgram (MCMAP) follows the sameangles, minus a few.Blocking is easy. There are only four

primary blocks: up, down, horizontal(inside or outside). If you add in thefour diagonal blocks, which are

nothing more than variations of the firstfour, then you can block any incomingstrike. It is laughable when traditional-based instructors tell their studentsthat it takes years to learn how tostrike and block, when in fact it can allbe learned in a single day. What takesyears is maintaining those skills.Learning individual strikes and

blocks is obviously necessary, but theywould be worthless without tryingthem out in conflict exercises. In thissystem we have three major exercises,starting from easy and becoming moredifficult due to realistic speeds: theOne Point Sparring Drill, the FeedingDril l , and the Free Style Dri l l . Ofcourse, the ultimate test is to put it alltogether into Confl ict Rehearsal(realistic actors, costumes, props, andan authentic environment).

ConclusionAs I’ve said before, there are two

types of Martial Arts, traditional-basedand reality-based. Actually, there is athird category as well – sport-based. Ifyou’re not in the Martial Arts to learnself-defense, then there is nothingwrong with learning fancy ancientweapons techniques, doing katas, andfollowing old traditions. However, if youstudy the Martial Arts for the solepurpose of protecting yourself, or lovedones, then simple, stripped-downtechniques interjected with propermental conditioning, as I havementioned in many previous articles, isthe only way to go. My reality-basedsystem is for those who fight for a livingand my new DVD Reality-Based PoliceBaton Tactics may just be what youneed if you have to fight for your life.

Arms

Police Techniques

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: info@crca.de

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

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