Martial ScienceBIMONTHLY MAGAZINE OF MARTIAL ARTS DECEMBER/2014 - Nº 06

GREGOR HUSS

Munich Hall of Honours, The European Oscar for Martial Artists

MASTER WONG

Talks about

JKD

THE STUDY OF THE ART OF UKEMI

HENRY BINERFA

CALENDAR

2015

INTERVIEWJIMMY LOCKETT

BACK ON MY FEETISRAEL RODRIGUEZ

www.cienciamarcial.com

PUBLISHER/EDITOR -IN-CHIEFHenry Binerfa C.

CONTRIBUTORSGM. Pablo Rodarte

Kyoshi Federico DinataleJames WilsonAirr PhanthipAnjarn Monlit

GM. Samuel KwokBob Goméz

Martin FranshanSifu Justin Cataldi

Yin Zhi ShakyaMaster Wong

Roberto De Lima

TRANSLATIONSYisel Viamontes

Alcides CervantesDaryanis Tamayo Fuente.

The direction of the magazine does not hold responsible itself with the opinions

of the collaborators.

The publicity included inside the pages of the magazine is only and exclusive

responsibility of the advertisers.

Many of the techniques of the martial arts can be dangerous, please training them only under the guide of a professor

or expert.

48-magic of martial arts/ maa charity seminar

OCTOBER/2014 3

38 - master wong / talks about JKD

Presents

4 - Publisher’ s Message

5 - News

10-munich Hall of honours

16- teachings of the budha

20- back on my Feet

26-calendar 2015

28-the interview/jimmy lockett 38 - master wong / talks about JKD

44- a travelling ronin/ Martin Franshan

48-magic of martial arts/ maa charity seminar

52- the study of the art of ukemi/ Henry binerfa

10-munich Hall of honours

4

Whenever a year

comes to an end, a com-plete cycle of experien-ces, memories, achieve-ments, losses, and goals also get to its end. When the clock points out the be-ginning of the New Year a new cycle starts to everyo-ne; it brings new purposes;one can continue with the old plans and try to strengthen them and faithfully look the New Year holding out a prospect of hope.

A whole cycle of work has also come to and end for Martial Science. Seven Issues of the Magazine were published in 2014 in Spanish and 6 in English, 13is-sues in all. Several Masters from more than twelve countries were covered on the pages of Martial Scien-ce. There were Masters from The United States, Cana-da, Mexico, Brazil, Argentina, Cuba, Spain, The Uni-ted Kingdom, Serbia, Germany, Japan, and China.

It was a pleasure to Martial Science editing staff to have met many friends and to have learned from tho-se Grand Masters, and above all, for we have made a contribution by providing our readers with their teaching without considering where their from or dis-tance. We have gathered all these stories, techniques, criteria, and philosophy to be published on Martial

Science magazine absolutely free, So that, our rea-ders can down load them to their computers, read their content and even print it.

We are really grateful to all Martial Science readers for their

e-mails, and criteria, even when we can not reply; all your suggestions are read and carefully taken into consideration. Your judgment is very important to us, and helps to improve our magazine.

Martial Science holds large scale projects for 2015; it especially plans a great many newsflash and the res-ponsibility to surpass the achieved goals.

We wish Merry Christmas and Happy New Year from Las Vegas to all Martial Science readers, columnists, masters, and to all those who contribute to make our dreams come true.

By: Henry Binerfa

PUBLISHER´S MESSAGE

NEWSGRANDMASTER SAMUEL KWOK FOR THE FIRST TIME TEACHES IN LAS VEGAS NEVADA.

On September 30th in Las Vegas, Nevada, two martial arts were joined which at the first glance look different. However, two experienced teachers managed to find similarities in their styles. I’m talking about the ancient art of Wing Chun and Muay Thai lethal. In a union uncommon GM Samuel Kwok (Wing Chun) and the Master Air Phanthip (Muay Thai) exchanged ideas and techniques in this unforgettable seminar organized by Martial Science Magazine. Here are some pictures that caught the camera Martial Science Magazine

DECEMBER/2014 5

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NEWS

GRANDMASTER SAMUEL KWOK FOR THE FIRST TIME TEACHES IN LAS VEGAS NEVADA.

DECEMBER/2014 7

PRESS RELEASE 2014 The Ultimate Destination is the world’s largest ga-thering of martial arts superstars, film and combat celebrities and renowned Masters from around the world. The Ultimate Destination is the only destination where you can congregate, meet, greet and share with thousands of fellow martial artists who gather together from around the globe. Commonly ter-med “The Academy Awards of Martial Arts”, this event is lis-ted as one of the largest banquet gala in Atlantic City and the world’s largest assembly of celebrities, champions, suppliers and, of course movers and shakers in the martial arts & MMA industry 5,000 plus people attend The Ultimate Destination each year. There are 3 days of amazing seminars (50+) taught by THE BEST OF THE BEST and all seminars are free and new this year we have included a stage for 12 amazing shows throughout the weekend. Open to the public and to dinner guests.

We have paid attention to the trends in the industry last year we had implemented The Health and Fitness Indus-try Into our show , not being any surprise due the crossover markets our New vendors did great . In 2015 we have exten-ded the Trade show to accommodate this new and growing part of our ever expanding event. In 2014 with the MMA and Martial Arts, and fitness Industry we were honored with the distinction of becoming the largest convention ever held in the Tropicana Casino Convention Hall.

Our Expo and Trade Show continually expand in many different directions, with over a 100 vendors spots. We have also expanded to include Martial Arts Business Conference with top of the line speakers. We bring in over 800 school ow-ners that mold and decide on the purchasing and discussion of tens of thousands of students under their school banners.

Expo Celeb Spot Lights: Actor Jason Statham, Eric Ro-berts, Michael Jai White, Cary Tagawa, Martin Kove, Chuck Zito, Ray Mercer, Ridick Bowe , Fred the Hammer William-son, Don the Dragon Wilson Cynthia Rothrock , Phil Morris , James Lew & Richard Norton .UFC stars such as Dan The Beast Severn, Mark Colman, Shonie Carter, Kimbo Slice , Ron Van Clief, Kick boxing champions like Benny the Jet,

Bill Wallace , Jeff Smith, Olando Rivera , Oak tree Edwards plus 20 others

As a added attraction we have 5 Tournaments and Com-petitions including:1. Sticks of Thunder Challenge . 2. The War on the Shore Open Martial Arts Tournament3. The Point MMA Tournament 4. The Amateur Grappling League Tournament 5. Amateur Arm Wrestling Competition

Also new this year is the Friday night ROC51 MMA Fights with Shihan Lou Neglia and The International Warrior Pageant. For those of you who love Muay Thai, we have ad-ded the Ace Ramirez Thai Kickboxing and Stick fighting with Apolo Landra Certification program.

Of course, we are having the Friday night Wine and Chee-se Dance Party and it’s open to all participants. We’re having the Sunday VIP Brunch with the Stars and Masters and then the anchoring of the weekend is our Saturday night banquet dubbed the “Academy Awards of Martial Arts”. Our star stud-ded banquet has taken place for over 14 years with over 1,200 dressed in their best. We are proud to reach the point as the largest banquet in the history of the Tropicana

The only destination is The Ultimate Destination for Martial Arts taking place on January 23, 24, 25, 2015 at The Tropicana Casino & Resort Atlantic City.

For more information contact Alan Goldberg at Actionma4@gmail.com or call him at 718-856-8070. You can also visit the website www.ActionMagstore.com for event information and registration forms for The Ultimate destination.

The Ultimate Destination For Martial Arts, MMA & The Health and Fitness Minded

Action Martial Arts Magazine 1222 Flat-bush Ave Brooklyn NY 11226 Tel : 718 856 8070 Email ActionMA4@gmail.com

8

DECEMBER/2014 9

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On January 23,24 & 25, 2015 the world’s largest gathering of Martial Arts Superstars, Film & Combat Celebrities, and Renowned Masters from around the world once again will gather, to meet, greet and share with the thousands who congregate from around the globe. Commonly termed “ The Academy Awards of Martial Arts. This combined event is listed as both the largest single Banquet Gala in Atlantic City and the world’s largest assembly of Celebrities, Champions, Suppliers and Movers and Shakers in Martial Arts Over 1200 in attendance.. 3 Days of Seminars are amazing THE BEST of The BEST and all free to the Public and Dinner guest alike. Plus over 100 Vendor Booths . Thousands showed up last year don’t be left out

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Munich Hall of Honours, The European Oscar for Martial Artists

DECEMBER/2014 11

Munich Hall of Honours, The European Oscar for Martial Artists

April 2015 the German and European Legends and Grandmasters of the Martial Arts met at the probably most prestegiouse event of its kind in Germany, some say even Europe: The Munich Hall of Honours:

Founded in 2008 by the german Taekwon Do and Combat Hapkido Master Gregor J. Huss.

The basic idea was to establish an event to award his Black Belt Instructors and students in front of an international audience. This event became more popular every year and other Masters used this ceremony to award their students. But it was not easy to transport the idea because nearly everyone he told about it had never heard about it or did away with it, saying: „we don`t need some-thing like this“ or worse.

But already after the first occasion, more martial artist saw the benefits in it and wanted to attend, especially when they heard that Karate Diva Karen Sheperd would be Special Guest among others.

From the very beginning it was the idea to only invite the best and most deserved Grandmasters, Legends and celebrities. Grandmaster Bram Frank USA, a world renowned expert in knifes and Grandmaster, Grandmaster Paul Griffin UK where first in 2008 to be followed by Worldchampion Emma Elmes UK , Karate Diva Karen Sheperd USA, Grandmaster Franz Strauß A , Superstar Cynthia Rothrock USA , Grandmaster Geoff Boo-th AUS , Grandmaster Kenneth P. McKenzie USA , Grandmaster Bernd Höhle GER , Grandmaster Juerg Ziegler CH , Grandmaster Uwe Hasenbein GER, Kyoshi Erwin Pfeiffer, Benjamin Piwko, Grandmaster Perry Zmugg A, Grandmaster Has-san Yaakoubd ITA, Judo Guru Stephan Leifeld as well as 3time Komitee Member Grandmaster Soke Heinz Köhnen GER, to name only a few of them.

When choosing locations, Master Gregor Huss took care from day one, only the most origin location would be used, no hotels and everyday locations but unique places f.e. The HIRSCHAU, a very bavarian Restaurant at the Englischer Garten in Munich twice in a row, The Castle Linderhof south of Munich, the only time when the Munich Hall of Honours did not take place in Munich. „it was worth to take this location at the castle Lin-derhof due to the 150th Birtday of the bavarian Fairy King Ludwig II and to bring all the martial artists from all over the world there! They had a

The Munich Hall of Honours:Founded in 2008 by the

german Taekwon Do and Combat Hapkido Master Gregor J. Huss.

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US Action Star and Martial Arts Legend Master Cynthia Rothrock and Master Gregor Huss

great time at this wonderful castle and it was Kara-te Diva Karen Sheperds second time at the Mu-nich Hall of Honours and for the first time Silvio Simac from the UK was with us.“ saiys promoter Gregor Huss. From Scotland Master Steve Smith and his students performed a great Judo Show.

Starting in 2012 US Action Star and Tangsoo Do Legend Grandmaster Cynthia Rothrock became part of the Munich Hall of Honours. And many more famous Grandmasters and Masters from many countries booked for this 5th event. It was held now for the first time at the WALDHEIM in Munich Solln, a fantastic Event Venue with a large Beergarden in middle of a small forest.

The Manager Tony Eckl is famous for the exquisite cusine and off course all participants of the events where excited about the food. Cynthia Rothrock said in her speech:“ this is one of the best events I have ever been to!“ but already the following year

she corrected herself in the speach and said „this is The Best Event I have ever been to!“

The Waldheim was fixed for the Munich Hall of Honours now for the comin years and from year to year it grew bigger and attracted more peo-ple. In the meantime, because of the strict black tie event rule and the high quality of shows and food the percentage of women at the event grew to almost 50% which made it very attractive for the men to bring theire spouses and partners who are normally a little left out in the arts if they are not active themselfes, and make this a real family get-together.

The 7th Munich Hall of Honours in April 2014 was one of the highlight in the history of this event. The whole event was sold out already 8 weeks ahead of time up to the last seat including Bar and Sideroom.

Sifu Serge Seguin and his Whu Shu Students started the event with the authentic chinese lions dance and after dinner performed in a fantastic Wushu demonstration. The Karate Team from Romania lead by Grandmaster Theodor Radut showed their skills and for the sixth time UK Freestyle Champion and crowd favourite Emma Elmes performed her outstanding skills with one of her students.

159 Martial Artist where new inducted and more than 45 wonderful women where among them and made the famous fotowall the only place you wanted to be.

The day before already, on Friday evening, there was another one of these Bavarian Welcome par-ties in which almost everyone dressed in typical bavarian clothes and had some native food and off course it was very special for the many foreign guests.

For some of them it was the first time, f.e. for UK Fitness Role Model Agata Dowding and Wushu Grandmasters and Champion Christian Wulff , Adriano Dèbole, US film producer and promoter

DECEMBER/2014 13

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Lu Dwyer and Wing Chun Legend Grandmaster Samuel Kwok, Grandmaster Rudi Kaufmann and Albert Greber both Switzerland and Austrian Legend Erhard Kellner and his wife Marianne and „The strongest“ Founder Ivica Alexkovski from Mazedonia.

During the day on saturday already it started out to be one of these wonderful martial arts days.

More than 30 Seminars with some of the best experts of martial arts and self defense where hol-ding their short classes for some 300 participant on three tatamies. They came from all over Ger-many, Austria, Switzerland, Italy, England, Poland, Romania and many more countries to train, a truly international event.

But what is going to happen 2015? How can it be topped? The 8th Munich Hall of Honours on April 17-19 , again held at the Waldheim, will top everything. New shows and performances mixed

with some of the best of previouse years, more Seminars and a bigger Tradeshow, Preview of new action film releases plus - after 4 years break - The MALYMPEX LEAGUE Women Black Belt Championship on sunday after the Banquet.

Participants from all over the world will be competing in four Disciplins,: forms, breaking, weapon forms and pointfighting and three age classes to find the best female Black Belt Cham-pion of the world.

Female Black Belts of all styles can participate in this open tournament by appointment, qualifica-tion or application.

It will be a spectacular weekend in Bavarias Capi-tol City Munich with Guest and Celebrities from arround the world and another milestone in the history of european martial arts. If you want to be part of it, join us for the action. Don`t pro-crastinate because the event will be sold out quick again.

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Asanga was one of the most famous Indian Buddhist saints, and lived in the fourth

century. He went to the mountains to do a solitary retreat, concentrating all his meditation practice on the Buddha Maitreya, in the fervent hope that he would be blessed with a vision of this Buddha and receive teachings from him.

For six years Asanga meditated in extreme hardship, but did not even have one auspicious dream. He was disheartened and thought he would never succeed with his aspiration to meet the Buddha Maitreya, and so he abandoned his retreat and left his hermitage. He had not gone far down the road when he saw a man rubbing an enormous iron bar with a strip of silk. Asanga went up to him and asked him what he was doing. “I haven’t got a needle,” the man replied, “so I’m going to make one out of this iron bar. “Asanga stared at him, astounded; even if the man were able to manage it in a hun-dred years, he thought, what would be the point? He said to himself: “Look at the trouble people give themselves over things that are totally absurd. You are doing something really valuable, spiritual practice, and you’re not nearly so dedi-cated.” He turned around and went back to his retreat.

Another three years went by, still without the slightest sign from the Buddha Maitreya. “Now I know for certain,” he thought “I’m never going to succeed.” So he left again, and soon came to a bend in the road where there was a huge rock, so tall it seemed to touch the sky. At the foot of the rock was a man busily rubbing it with a feather soaked in water. “What are you

Asanga (As told by Sogyal Rinpoche in The Tibetan Book of Living and Dying. Copyright@1992 by Sogyal Rinpoche)

Teachings of the Budha

DECEMBER/2014 17

doing?” Asanga asked. “This rock is so big it’s stopping the sun from shining on my house, so I’m trying to get rid of it.” Asanga was amazed at the man’s indefatigable energy, and ashamed at his own lack of dedication. He returned to his retreat.

Three more years passed, and still he had not even had a single good dream. He decided, once and for all, that it was hopeless, and he left his retreat for good. The day wore on, and in the afternoon he came across a dog lying by the side of the road. It had only its front legs, and the whole of the lower part of its body was rotting and covered with maggots. Despite its pitiful condition, the dog was snapping at passers-by and pathetically trying to bite them by dragging itself along the ground with its two good legs.

Asanga was overwhelmed with a vivid and unbearable feeling of compassion. He cut a piece of flesh off his own body and gave it to the dog to eat. Then he bent down to take off the maggots that were consuming the dog’s body. But he suddenly thought he might hurt them if he tried to pull them out with his fingers, and realized that the only way to remove them would be on his tongue. Asanga knelt on the ground, and looking at the horrible festering, writhing mass, closed his eyes. He leant closer and put out his tongue. The next thing he knew, his tongue was touching the ground. He opened his eyes and looked up. The dog was gone; there in its place was the Buddha Maitreya, ringed by a shimmering aura of light.

“At last,” said Asanga, “why did you never appear to me before?”

Maitreya spoke softly: “it is not true that I have never appeared to you before. I was with you all the time, but your negative karma and obscurations prevented you from seeing me. Your twelve years of practice dissolved them slightly so that you were at

last able to see the dog. Then, thanks to your genuine and heartfelt compassion, all those obscurations were completely swept away and you can see me before you with your very own eyes. If you don’t believe that this is what happened, put me on your shoulder and try and see if anyone else can see me.” Asanga put Maitreya on his right shoulder and went to the marketplace, where he began to ask everyone: “What have I got on my shoulder?” “Nothing,” most people said, and hurried on. Only one old woman, whose karma had been slightly purified, answered: “You’ve got the rotting corpse of an old dog on your shoulder, that’s all. “Asanga at last understood the boundless power of compassion that had purified and transformed his karma, and so made him a vessel fit to receive the vision and instruction of Maitreya. Then the Bud-dha Maitreya, whose name means “loving kindness,” took Asanga to a heavenly realm, and there gave him many sublime teachings that are among the most important in the whole of Buddhism.

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20

Back On My Feet

Israel RodriguezStory by: Olivia GalePhotos: Tanya Rogenski

DECEMBER/2014 21

Back On My FeetA dancer’s journey to dance again

The Power of the Indomitable Human Spirit, Will and Determination…

Israel Rodriguez could not have been happier on this day. His dan-

cers’ heart was full of joy. He was returning to the stage with his beloved Orlando Ballet at the Bob Carr. Israel had been a principal dancer for 5 years with Orlan-do Ballet under the artistic direction of the late Fernando Bujones. It had been 3 years since he had danced with the company, and the invitation by the company, was an exciting opportunity. Israel was training hard in preparation for dancing before an Orlando audience, who excitedly anticipated his return. At 40 years old he was still dancing at peak performance. Since the age of 10, his training had always gone beyond ballet to include a lifetime of martial arts, boxing, running and later Pilates. When younger dancers were injuring themselves in their twenties, he was still going strong. Israel was taking company. As he began the combination, he suddenly felt like he’d been hit from behind by another dancer. He went down, then looked around to check if anyone was injured. He’d bare-

ly made it 5 inches off the floor into the jump, when he fell to the ground. When he tried to get up, it felt like the floor angled out from under him and down he went again. Then the realization hit him, and all around him knew the truth. They were all witness to the horrifying sight of Israel’s calf muscle crawling up the back of his leg. His Achilles tendon was ruptured and at that moment he felt a dancer’s worst nightmare. This was the kind of injury that could mean the end of a dancer’s career regardless of their age. There was one significant difference here. In Israel’s case he believed with every ounce of his being that he would recover and dance again, in spite of this horrendous injury. He’ll ne-ver forget that moment frozen in time, February 6, 2009 at 11:25 AM. This is the story of his incredible journey back to the 100 percent recovery that his single minded determination created in his life. It is a story of inspiration to any dancer, any athlete, any person who reads it and finds their own path to recovery and personal triumph.

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Israel´first experience with martial arts was at

the age of eight, when he began studying Judo and Karate Do in Cespedes, Cuba where he lived. Be-ing involved in a sport where his mother repea-tedly saw him being pun-ched in the face wasn’t really the best idea thou-gh. So she recommended that he take a dance test to point him in another presumably safer direc-tion. He thought that if he started studying dance that could help him a lot with my martial arts career. At age ten, he moved to the city of Camaguey where he began studying dance, but that didn’t stop him from doing what he lo-ved most, “Martial Arts”. He started to train with friends on the streets and in the school where they could fight after classes without the teachers or anyone else knowing. Once he became a pro-fessional dancer he continued training in Martial Arts everyday, which helped him tremendously in his dance career

DECEMBER/2014 23

It was Friday the 13th when his surgery was scheduled. Generally considered a day of bad luck, this was hardly that. This was the first step to healing the injury that had cost him what he loved so dearly, the ability to dance. On that first meeting with his surgeon prior to the surgery he asked him “Can you make me dance again. I want to be back next year to perform as good as what I did before”. The Doctor replied, “Everyone is different,” being very honest, “I’m very good at what I do, and I will give you my very best. The surgery is the easy part, but the rest depends on you.” Joshua Langford, MD was the mira-cle worker that performed the repair to Israel’s Achilles tendon. After the surgery Langford guided him through the process of recovery, a process he couldn’t pos-sibly believe would have the outcome that it did. This would be the most painful convalescence Israel had ever had to go through, but he kept his mind on the goal. He pictured himself performing, dispelling any doubts that crept into his conscious-ness, and refusing to accept any alterna-tive other than dancing again as he had before. He told his wife Katia, “I’m going to dance with you again.” with a determina-tion that accepted no other reality. When Orlando Ballet performed “Romeo and Juliet” Israel attended the performance. While everyone gathered backstage engaged in excited conversation, Israel in the boot that stabilized his healing leg walked alone onto the center of the sta-ge and looked out into the audience. His good friend, Pedro Franceschi, noticed

him standing there alone and walked to him putting his hand affectionately on his shoulder. Israel then said “Mark this day, because one day I’m going to dance “That’s Life” again on this stage.” “That’s Life”, choreographed by O. Terrence, had been one of Israel’s acclaimed solo pie-ces performed multiple times at the Bob Carr. Pedro did not want to say any words of discouragement, although he was thinking sadly that his friend would not be able to perform again, even though in his heart he hoped that he would. On March 19th 2010, Israel did indeed perform “That’s Life” again at the Bob Car in Or-lando Ballet’s production, “Battle of the Sexes II”. Israel is also very involved in film production, so that evening; he had three cameras set up, two in the audience and one behind him while he performed. He actually had forgotten that moment with his friend, until he began editing the foota-ge. When he saw the camera angle from behind, his back to the camera looking out into the audience in a standing ova-tion, it hit him like a bolt of lightning. He re-membered that moment looking out into the empty theater and telling his friend “mark this day”. And there he was on film, the image of what he saw then. He im-mediately called his friend and said you have to come see this. When he showed him the footage, tears came to his Pedro’s eyes. He had done it, the vision became reality. “That’s Life” lived again on stage, in the way he had envisioned. In the way his entire being believed.

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But there is more to the story of this incredible recovery. His doctors told him, “Do only what I tell you and no more.” Unfortunately so many indivi-duals, who have this kind of injury, go back to dancing too early. They do more than they should, destroying their chances of recovering fully to dance again. Israel has brought this message to many other dan-cers with similar situations, spurring them on to believe in the healing power they have within. By doing everything his doctor and physical therapist told him, he was able to walk in May of that same year, teach and take slow bar without the boot. No hard impact was allowed. Each time he saw Dr. Langford, he was advised he could move the process forward ahead of schedule. The Doctor couldn’t believe how quickly he was recovering. Israel’s actual comeback to Orlando Ballet came prior to his “That’s Life” performance. It would be on stage at the Orlando Convention Center as a guest ar-tist dancing Bailamos on February 19th 2010. Fernando Bujones’ Bolero and Vos y Yo, a tango pas de deux he and Katia had choreo-graphed for themselves, were to be his showpieces. “That night dan-cing with my wife again was my first dream come true. I couldn’t believe it! I found myself, not only dancing with Katia, as I had promised her, but jumping almost like before.” There were two very special people in attendance that evening, his Doctor and physical therapist. After the per-formance they both came back sta-ge and with tears in their eyes threw their arms around Israel. “Not bad for

an old man, huh,” Israel said, “thank you so much for helping me to dan-ce again.” They could hardly belie-ve what they saw. This man, who told them “make me dance again”, was living proof of the limitless capacity of the human spirit to overcome. Their medical expertise coupled with the power of his determination and refusal to believe in any other outcome, had brought him back to what he loved. He had told them, “I want to be back next year to per-form as good as I did before.” And there he was, almost exactly a year later, on stage dancing as he belie-ved he would. For them it was no-thing short of miraculous.

Today he says with a smile, “I am now fully recovered and kicking.” His experience as a film maker is gi-ving him the opportunity to share his journey as a documentary. His goal is to inspire and show others a way to find their own path to recovery and full functionality. “This is a message for all, listen to your body, be honest with yourself, build your strength, and believe you are going to get better. Love exercise, more than just ballet, stay in shape and you will last longer whatever your age.” Don’t listen to the negativity that you’ll be bom-barded with. Tune out the people who tell you, you can’t, that only a miracle will make you dance again. “Until you go through something like this no one can truly understand. Be the miracle, you are blessed and believe.”

DECEMBER/2014 25

After his Achilles tendon injury, he had to start everything from the beginning. It was a very hard time for him, and he

was wondering whether or not that was the end of his dance and Martial Arts career. That didn’t stop him from believing that he would overcome this obstacle, that he’d come back even stronger and better than before his accident. The first

step was listening to his doctors and therapists following their advice exactly. Once he was given the green light to maximize his training, he started to exercise not only for

ballet, but like he was going to fight in a professional title fight. It was then that Ihe remembered his childhood. He

knew that if he trained in Martial Arts he could be back to dance again. He could get “back on his feet”. Thanks to Mar-

tial Arts, today he feel stronger than ever. He want to tell this story to every kid and to everyone out there who might

be going through the same kind of physical challenge that he went through. What he want to tell them is “be smart”,

be strong and disciplined, because if he could do it, you can too

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Martial Science

DECEMBER/2014 27

2015

Photo taken in Cumana, Sucre, Venezuela.Courtesy of ShinKaido Ryu Hombu Dojo

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INTE

RVI

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JIMMY LOCKETT

By: H

enry

Bin

erfa

DECEMBER/2014 29

WHAT IS YOUR MARTIAL ARTS BACKGROUND?

I began martial arts practice in Cleveland, OH in1967 with Judo under Mr. Harold King. In 1969, I began studying Kenpo Self-Defense, a combination of Okinawan and Chinese Kenpo, under Master Herman Griffin (aka “Griff”). He remained my primary teacher until his death in 1998, which was the year I was awarded 6th Dan. I was also on my high school wrestling team for three years and trained in boxing with my brother who was an amateur champion.

I’ve studied with many teachers and arts over all those years. Some important influences were: 5 Animals Kung Fu (Liu Seong) with Art Sykes; Aikido with Dusty Young in Atlanta and James Noriega in Las Vegas; Small Circle Jiu Jitsu with Wally Jay; Jeet Kune Do Grappling with Larry Hartsell, Daito Ryu Hakuho Kai in NYC, Muso Shinden Eishin Ryu Iaido, under S.T. Khan in NYC.

In the 1980s I was a seminar ‘junkie’ for a while and was fortunate to learn from many great teachers such as, William Cheung (Wing Chun), Francis Fong (Wing Chun), Chai Si-risute (Muay Thai), Paul Vunak (Jeet Kune Do), Stephen K. Hayes (Ninjutsu), Graciela Casillas (Kickboxing), Reylson Gracie (Gracie Jiu Jistu), Paul de Thouars (Pentjak Silat) and many others.

The two strongest influences on me besides my main teacher are Guro Dan Inosanto (Jeet Kune Do Concepts, Filipino Martial Arts, and Indonesian Silat), and my current jujutsu instructor, Sensei Jose Carricarte who teaches old style Japa-nese Jujutsu (Kito Ryu, Morita Ryu). I first encountered Guro Inosanto in 1987 and have studied his methods ever since. I believe he is one of the greatest martial artists of our time and his skill and knowledge are beyond compare. I began studying with Sensei Carricarte in August of 2011. His understanding of traditional Japanese jujutsu is unique and thought by many to have been lost. I have tried to assimilate the various princi-ples and techniques from all these great teachers and arts into my conception and practice of Kenpo.

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WHAT WAS TRAINING LIKE IN THE EARLY YEARS OF YOUR PRACTICE?

Many people have spoken about the harshness and intensity of martial arts training in the ‘50s, 60’s, and to some degree, the early ‘70s, although by then things had changed quite a lot. It’s important remember that virtually all martial arts teachers from that era were for-mer military personnel. Most had learned du-ring or very close to wartime and under very tough conditions.

In my case, not only did we live in a tough nei-ghborhood, but there had also been a war in every generation prior to ours and nearly ever-yone thought they would, at some point, have to go to war. My father and uncle had both been in the Korean conflict, my grandparents in WWII and so on. In my generation it was Vietnam. My cousins and most of my friends had gone and I thought I would as well.

My first instructor, Mr. King had learned in the military and my main teacher, “Griff” had been an Army Ranger. He thought, in part, he was preparing us, not only for general self-de-fense but also possibly for Vietnam. I believed it was virtually certain that I would go, as did most everyone in our classes, even though we were children at the time. Fortunately for me, the conflict was ending by the time I was of age.

In addition to this, no one ever dreamed of any sort of legal recourse regarding our treat-ment and training. Those ideas simply didn’t exist for us. It was all about whether or not you could take the training. Either you could or you couldn’t. There was no option to punish the ins-tructors for being too hard. Truthfully, people from our kind of neighborhood thought martial arts was supposed to be like that. If it wasn’t super hard, if the techniques didn’t really hurt, if there wasn’t an element of real danger, how could they work in the real world that we saw every day?

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So, that combination of factors made for some pretty serious, high intensity, very painful tra-ining, both physically and psychologically. We didn’t think it was abusive at the time. We just thought, this is martial arts – take it or leave it.

DO YOU HAVE ANY MEMORABLE MO-MENTS FROM YOUR PAST TRAINING YOU WOULD LIKE TO SHARE?

Of course there are many, many. My very first day in Judo, in Jan. of ’67 is quite memorable for me. The class was offered as an extracurri-cular activity at my Junior High school. The first day I went, the teacher wasn’t there yet. The students from the previous semesters were there practicing. It was in the upper bleacher section of the basketball gym. I thought they looked so cool in their uniforms, doing their moves.

So, I went onto the mat to see if I could get any information. A fellow by the name of Michael McGee, wearing a green belt, asked if I wanted to join the class and I said yes. He said, “Well, let me show you what we do here.” He then ‘flipped’ me onto my back. I landed very hard and got a sharp pain in the lower spine. I went to the side and sat and watched the rest of the session, part of me wondering why he did that.

Two things came from that experience. One, I didn’t figure out until nearly ten years later, that the reason he did what he did was pro-bably because, in my ignorance, I had walked onto the mat with my street clothes and shoes on. I had no clue what the rules were. Most li-kely, he was not amused and was trying to send me a message.

However, the other factor was, I thought what he did to me was pretty much the coolest thing ever in the history of mankind. It felt like I un-

derstood exactly what he did. It made total, instant sense to me and I wanted to learn to do that so badly I couldn’t stand it. I was hooked for life from that one ‘flip,’ which I later lear-ned was the throw, Ogoshi, the major hip throw. Basically, almost 50 yrs. later, I’m still that kid who got flipped in the school balcony. I still love it just as much now as I did then.

WHAT DIFFERENTIATES KENPO FROM OTHER MARTIAL ARTS?

One of the most important things to understand about the various arts that use the name Kenpo or Kempo (both are correct), is that they were not developed by warriors or aristocrats, they were not for royalty or bodyguards, and they were not specifically created for battlefield combat.

Kenpo arts were developed either by peasants or monks. They are arts for regular people: farmers, fisherman, priests, clerics and such. These are people who cannot spend their lives training all day. They have families, jobs, or other duties. They are not professional fighters or soldiers and their arts are not intended for those purposes.

Also, virtually all Kenpo arts are a combina-tion, a blend of techniques taken from a wide variety of other arts, then put together to fit a particular group or situation. This concept is an integral part of Kenpo and still exists to this day.

This means that a central fact of the Kenpo world is that, everywhere you go, the art will appear somewhat different. Kenpo practitio-ners invariably adapt the art to their circum-stances or abilities. They also readily add, change, evolve, and incorporate new ideas, principles, and techniques into the art. They

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then tweak those to fit their basic philosophy and call it Kenpo.

This practice is a fundamental aspect of the Kenpo arts and derives mainly from one simple idea. At its’ heart, Kenpo is self-defense for the masses. This is the most basic thing to unders-tand about it.

Some arts are for military, or law enforce-ment, or street toughs, or professional fighters. However, usually, the people involved in these activities are young, superb athletes, mentally dominant, competitive types, and are trained to the highest level of fitness and skill. More often than not, this is their main life activity and the spend hours each day at it.

There are some who practice Kenpo this way as well. But mainly, it’s all about self-defense for the everyday person. We never say to someone, you can’t defend yourself or your loved ones because you are not athletic or talented or fier-ce enough. We have to find ways to help such people defend themselves, not against profes-sionals, but in real world circumstances. This is the true heart of the actual physical practice of Kenpo.

WHAT IS YOUR INVOLVEMENT WITH MARTIAL ARTS TODAY?

Currently, I study and teach at Tanren Dojo (www.tanrendojo.org) my private dojo in Las Vegas. It is attached to my home and is not a commercial school. My students are all long-ti-me martial artists who train for the love of the art. Some of them have their own dojo and are instructors themselves. Sensei Jose Carricar-te also teaches Judo and Jujutsu there. We do have some outside people who use the dojo when they’re in town such as members of the Cuban National Judo team.

Of course, like many, I am not a professional martial artist. I don’t teach for a living. I am a musician and have been my entire life. I work primarily as a composer, arranger and orches-trator for various shows and for the Symphony.

I have often been asked whether there are pa-rallels between music and martial arts. On the surface they seem so different.In fact, there are many parallels and I’ve even considered doing an article about this some-day. Whether it’s in the deep, complex history, the wide range of performance options, the un-compromising discipline needed, the joy of the actual practice and performance, the amazing range of people and places you go, or the fact that both these arts have been practiced in

DECEMBER/2014 33

every culture in the history of the world since the beginning of mankind, the parallels are in-credible to consider and really would require far more space and time than we have here.

WHAT ARE YOU TEACHING IN YOUR DOJO?

I teach my own blend of Kenpo arts which I call Ju no Kage Ryu, which translates as 10 Shadows System. The system consists of 10 fa-cets, the 10 shadows. They are:

THE TEN ARTS (SHADOWS)

1. TACHI WAZA (立ち技) – Stances, Body Movement, footwork, Falling

2. ATEMI WAZA (当身技) – Strikes with All Parts of the Body3. NAGE WAZA (投げ技) – Throws, Takedowns, Lever down, Balance Displace-ment4. AIKI WAZA (合気技) – Blending, Ai-ki-Jujutsu/Kenpo, Pressure Points (Kyusho), Ki-Ko (気功)

5. KATAME /KANSETSU WAZA (固め/関節技) – Grappling (Standing & Ground), Chin Na, Jujutsu, Kyusho6. BUKI WAZA (武器技) – Weapons Arts (Ancient and Modern) KOBUJUTSU (古武術) Ancient Warrior Arts7. KATA (形) & KUMI-EMBU (組演武) – Solo & Partner Practice Sequences (Prearran-ged & Spontaneous)8. TAI JUTSU (体術) – Body Arts: Phy-sical Conditioning, Healing Arts & Sciences, Nutrition, Ki-Ko9. SEISHIN SHUYO (精神修養) – Men-tal training, Concentration, Meditation, Mind States, Strategy10. RIAI (理合) – integration or Harmony or Principles – Combining: Blending All Into A Unified Whole

These ten ‘arts’ are expressed using the va-rious techniques, strategies and training me-thods I have experienced over the past 48 yrs. The art is still evolving though and I hope it will continue to do so as long as it exists. The main focus for the physical practice is what I call Civilian Self-Defense. Our archetypal de-

34

fender is someone we call Mrs. Jones. She is an average female between 25 and 60, not par-ticularly athletic, who has a job and/or family. She doesn’t get into street fights or bar fights. The only time she is likely to be in a self-de-fense situation would probably be something serious.

We also have four basic assumptions about the opponents Mrs. Jones has to face.

1. They are bigger than her2. They are stronger than her3. They have a weapon(s)4. They have friends

So, a large part of what we do revolves around being able to handle situations that might arise for Mrs. Jones.

However, in reality, very few people will prac-tice a martial art for nearly 50 yrs. just for a si-tuation that hopefully will never happen. There has to be more to it than that.

The great joy of Kenpo is that you can bring to it whatever you love. It can be historical, phi-losophical, or spiritual, for health or just for fun. You can incorporate whatever previous training you have, add elements of other dis-ciplines such as yoga and tai chi, or whatever appeals to you. You can be very traditional in etiquette or very loose if that’s your preferen-ce. As long as you don’t lose the essence of the self-defense aspect, then you are free to make your Kenpo your own.

HOW DO YOU PERCEIVE MARTIAL ARTS TODAY?

I think martial arts are at the greatest level they have ever been in history. All over the world people are studying and training in amazing

and innovative ways. We have superior nutri-tion, conditioning, and access to everything you could ever possibly want to learn.

In some parts of the world, people are training at a level of intensity and commitment that is hard to believe. Far more than we did, or at least than I did, in the old days. In others, we see athletic feats that boggle the mind. There are more people practicing in more places and in more ways than would even be conceivable in another time.

As always, we have the full range from really bad to truly excellent. We have fakes and char-latans as well as true masters. This is normal and natural. Indeed, this is a part of what I love about the martial arts, all the crazy peo-ple, egos, attitudes, competitions, books and videos and Internet and all the rest. It’s a giant smorgasbord of humanity embedded in a prac-tice that is infinitely varied and engaging on every level. In my opinion, we are living in a Golden Age of martial arts practice. I think it’s absolutely great.

DO YOU HAVE ANY ADVICE OR MES-SAGE FOR THOSE COMING INTO THE ARTS TODAY?

Yes. It’s all about showing up day after day. You don’t have to be special, or gifted or big, strong and fast. You don’t have to be particu-larly smart or mean or cool. All you have to do is keep going, day after week after month after year and you will get there. My main message to anyone, in any endeavor is this: The secret to success is consistency over time.

DECEMBER/2014 35

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Master Wong,

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Master Wong,Talks about JKD

WHEN DID YOU FIRST START LEARNING MARTIAL ART?

I started in Martial Art as I was bullied and lived a hard life like many as a youngster. Firstly, I wasn’t bought up in the western word! I had a hard start in a hard environment. Life started in North Vietnam. I was fighting every day, for the smallest scraps of food. You either fought to eat or you didn’t eat, sur-vival of the fittest.

I am of mixed heritage. My family is Chinese and Vietnamese; in the Northern Vietnam culture this was frowned upon and unacceptable to the com-munity. People cry about racism and xenophobia being bad now, but for me you could easily be ki-lled just for being born. Ultimately my family was shunned and eventually my father was extradited for being Chinese and we were forced to leave the country and travelled to the UK among the Vietna-mese Boat People as refugees.

Around age four to five I was shown a few bits and pieces to look after myself by the old man who li-ved next door. I started to protect myself; I started to come out better in the fights. Not to provide too much detail, but, if you lost you weren’t just beaten; you were humiliated, your soul was attacked. Lucky

for me I had strength and continued to grow and overcome my everyday enemy.

Age Twelve! I thought Life would get better; I was on route to England. This is a good place, I thought to myself. I was excited to start school but was sus-pended straight away for having a huge fight in the toilet (I won obviously). Apparently the sink was for drinking only! I was in a strange place. My life in the UK was already going south by day one.

To cut the story short… a lot went wrong and I was expelled from of School at age fifteen… I then found a Master and started my Martial Art journey properly.

WHAT IS YOUR VISION OF JKD?

My vision of JKD Body Weapon is the advancement of my Wing Chun, Tai Chi and military San Shou to provide an all-out effective street self-defense. If it came with a label it would be “Get the job DONE!”

My vision of JKD Body Weapon is the advancement of my Wing Chun, Tai Chi and military San Shou to provide an all-out effective street self-defense. If it came with a label it would be “Get the job DONE!”

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WHAT IS THE CORRECT WAY TO USE JKD?

It’s the way of expression, your feelings, your beliefs and your character. You use what you have learnt and what you can do to make it work for you personally when the time comes. You don’t get a chance to remember; thin-king takes too long. It must be an autonomous reaction that comes from your deep instincts of ex-pression.

WHAT DO YOU THINK OF THE COMPARISON OF JKD AGAINST MMA?

Is MMA not JKD in a sporting context? Is MMA not an expres-sion of your feelings, your mind-

set, or your character? Do you not use the best techniques and skill you have learnt to work for you against your opponent? Your techniques and tactics based on the information to hand! Sure-ly you use the quick and fastest route to win! In the street that opponent becomes your enemy; street is JKD. Cage is MMA, the two are very different yet the same! One with rules and one without!

IS JKD A STYLE OR CON-CEPT?

When does a concept become a style? Can a style not be a con-cept? If you ask me about Bruce Lee JKD I might answer with it being a concept, as unfortuna-

tely he is no longer around to move his amazing work further forwards. Would JKD be so mys-terious if he was alive today? Would it have evolved further just like his Jun fan Gung Fu did? So many un-answered questions! JKD Body Weapon however, is what it is! It is a process by how you win in the street. A process of time, effort, blood, sweat and determination! JKD is a journey; you improve with every correct step, every reflected moment, every thought. You can’t apply JKD Body weapon to your mar-tial art if it doesn’t apply to your life!

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WHAT IS THE DIFFERENCE BETWEEN JKD AND WING CHUN?

Wing Chun is the foundation of JKD! Without Wing Chun there would have been no JKD! Wi-thout the solid foundation of Wing Chun, JKD has no root. JKD is the advancement of Wing Chun! When one becomes an expert in any field they start to drop away the elements that are holding them back, only using the best bits that work for them. This comes to knowing yourself, your enemy, your ability and your surrounding. This happens due to a deep-seated instinct of survival, only the stron-gest survive; those that survive adapt! JKD is the advancement and adaption of ones self!

HOW CAN YOU DEFINE JKD?

It is Expression! You can’t teach it, you develop it. Bruce Lee ‘Expressed’ himself, did he not? JKD doesn’t own a punch or a kick; all you have is the understanding of so much but you use so little.

Bruce Lee would practice one kick thousands of time so he can place his expression into its use. He used what worked in the time and place that nee-ded it. You express in your own particular way. No one is the same! You are different to me; Bruce Lee was different to all around him. If you are unable to articulate yourself you have no JKD. It’s as simple as that! Its an expression of mentality, a passion of your art. No personality / no JKD!

WHY IS FOOTWORK SO IMPORTANT IN JKD?

The lower controls the upper section of the body. If you are aiming a rife is it the shoulder that leads or is it the legs that set the angle? Power is genera-ted from the earth and delivered through you. Foo-twork is the most important element of any martial art, you must respond fast and effectively so you can do your business and end the game before it starts.

Wing Chun is the foundation of JKD! Without Wing Chun there would have been no JKD!

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MANY PEOPLE SAY THAT JKD OVER TIME HAS BECOME A MORE CLASSIC STYLE. WHAT DO YOU THINK OF THIS?

Any concept, style, system or art can be classical. It depends who is practicing or teaching. Not all JKD is created equal! Are you instructed? Are you tau-ght? Or, maybe you’re coached? Even Mentored! JKD is about you and your personal journey. Who can turn that into a classic style?

When one moves into JKD they are no longer tau-ght or shown any technique, they should know how to punch or kick, they are only opened up to oppor-tunity to reflect and improve their skills using sce-nario based training. You use what you know and are coached to expand your advancement. Wing Chun is systematic as is any martial art; JKD is au-tomatic!

Master WongTechniques Jeet Kune Do

DECEMBER/2014 43

Wing Chun is systematic as is any martial art; JKD is automatic!

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A Travelling Ronin

Tae Kwon Do: Warriors Martial Arts Club:South Chicago, IL

By: Martin “travelling ronin” FranshaM

BACKGROUND: Tae Kwon Do is one of the most recognised Martial Arts in North America. It came flooding into the continent after the end of the Korean War. Similar to the way that Karate was brought to North America by veterans after the end of World War II Tae Kwon Do was wit-nessed by many of the soldiers stationed in South Korea. Given the strong military military presence after the end of the Korean War which has conti-nued to this day, it is no wonder Tae Kwon Do is so popular.

It is also one of the two Asian Martial Arts to be an Olympic Sport. With competitors coming from almost every country the influence that Tae Kwon Do has had on modern Martial Arts is unde-niable. A quick search on Youtube will turn up dozens of videos featuring wicked knockouts and vicious kicks. Of course someone will also point out that there is a lot of videos of absolutely awful Tae Kwon Do as well. In my opinion, by having so many practitioners you will see both good and bad. I choose to spend my time learning and wor-king on the best aspects of an art not pointing out a Youtube failure.

Tae Kwon Do is well known for its spinning techniques. Watching fighters fire off spinning back kicks or hook kicks is fantastic. Many cri-ticisms were leveled against Tae Kwon Do in the early days of Mixed Martial Arts. However, today Tae Kwon Do has become an piece of many high profile fighters’ game. Anderson Silva, Anthony

Pettis, Benson Henderson, etc... are just a few of the many MMA fighters that have trained in the art and employed the devastating kicks,

We start working on some basic strikes.

I met Instructor David Pugh at a seminar on gun disarms. Throughout the evening we ended up working together and I developed a great respect for him. At the end of the night I found out that he was teaching Tae Kwon Do on the south side of Chicago and knew I had to go check out his class.

WHAT DID I LEARN: I have spent a lot of time around fight camps and one thing that always amazes me is the ability for fighters to tweak te-chniques to offer a new twist on them. As a bigger Martial Artist I have seen the power that spinning techniques can generate. Twisting your body

DECEMBER/2014 45

builds up power like a coiled spring. However, how you uncoiled that stored energy can be very different.

I worked on two spinning techniques with Ins-tructor Pugh that evening. The first was the “spinning sidekick” and the second was the “spin-ning back kick or mule kick.” Early in my Martial Arts career I became familiar with the concept of tradeoffs. My first teacher, Sifu John Hum, taught me that there were no good or bad techniques. However, every technique has a series of tradeoffs that you must be willing to accept in order to reap the benefits.

The spinning kicks we worked on really drove this home for me. The first variation was the spinning sidekick. You started up by coiling your body, however, to maintain the visual contact with the target you begin to uncoil before you fire the kick. The benefits are obvious, by keeping eyes on the target you have greater accuracy than the mule kick and more power than if you threw a normal sidekick. However, the tradeoff is that because you started to uncoil you lose some of your power.

The mule kick on the other hand starts exactly the same way with the difference coming in the exe-cution of the technique. The mule kick fires the leg straight back with devastating force by capitalizing on the full amount of stored energy as you coil. Just like the spinning sidekick there is a tradeoff to get that extra power. Since you are kicking straight back you can’t keep the same visual contact and are effectively unleashing the kick blind.

Both techniques are equally valid and come down to the fighter to choose the application. A faster fighter will dodge the mule kick making the spin-ning sidekick the preferred technique in order to keep tracking and fighting your opponent. Later in the fight as the same opponent slows down and stops maneuvering keeping the visual contact is less important allowing you to slam them with a mule kick.

Throwing out a front kick under the watchful eye of Instructor Pugh.

WHAT WAS AWESOME: Normally I am training with adult classes with morals and ethics being focused on as an afterthought. Adults have largely formed their moral compass and just need to so-metimes have it reset but rarely reformed. Partici-pating in a family class was wholly different.

I get hammered with a spinning sidekick.

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My turn to practice the mule kick.

There is a knife in my hand which you can’t see as Instructor Pugh hammers it away.

Many of the school’s students are young and impressionable, looking up to the adults as role models.

That is where Instructor Pugh steps in and runs his class perfectly. The class opens and closes with the “Principles of Tae Kwon Do” where the stu-dents repeat what they are striving for. Courtesy, Integrity, Perseverance, Self-control, Indomitable spirit. Better yet, at the end of class Instructor Pugh goes through each one of the principles and how they apply outside the Dojang.

I am threatened with a knife by a student.

Martial Arts is supposed to make us better peo-ple and provide a variety of life skills. In a church basement in South Chicago I had the privilege to witness it. Warriors Martial Arts Club lives the principles they teach and I couldn’t be happier to witness Tae Kwon Do making a positive impact not only on individuals but also on a community as a whole.

DECEMBER/2014 47

CONCLUSION: I learned a lot about Tae Kwon Do in the night that I was with Warriors Martial Arts Club. This wasn’t the biggest lesson I took away. I learned much more about being a teacher and crea-ting and image that people look up to and how to inspire the next generation.

Best regards and keep training,

Martin “Travelling Ronin” Fransham

If you are interested in training together I would love to get together with you. Drop me a line on face-book and we can connect. I would love to learn from you.

A group shot with just a fraction of the class.

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In Workshop Maraton “ Magic of Martial Arts” cavorting around 200 martial artists from diffe-

rent clubs. The Martial Arts Association - Interna-tional (www.MAA-I.com ) under the chairmans-hip of Bernd Hoehle and the SRC Viernheim under the direction of Master Gerhard Strahl directed from the charity martial arts seminar . The magic of the martial arts program was after the City Council opened the seminar with a motivating speech . There were always five teaching units in parallel instead of on different surfaces . Each speaker knew the participants on his way to inspire and to convey a piece of martial arts . “ Martial artists of whate-ver belt color can get an overview of the various martial arts and learn and so the different facets of martial arts experience here “ as organizer Bernd Hoehle. Speakers and participants came from all over Ger-many and from neighboring countries which are traveled on the combat uniforms emblazoned logos

like “ Golden Dragon “ , “ Fight Club “ or “ Red Dra-gon “ paired with a variety of belt colors. Speakers Grandmaster Dr. Thomas Draxler (14 Gesunder-halter), Master Denis Nobari ( Kyushu Qigong Sys-tem ), Master Andrej Johann, Master Maria Esco-bar (Wing Chun), Grandmaster Manfred Büttner (Bo/Hanbo-Jitsu), Master Berd Wiloth (Tanto Jut-su Do), Master Markus Sell (Ritter-Sport-System ), Meisterin Susanne Köhl (Stunt Coreo), Grand-master Thomas Wernet (Ju Jutsu ), Grandmaster Giuseppe Gramegna (Jiu Jitsu), Grandmaster Jo-hann Mika (Jukoshin Ryu Jiu Jitsu), Grandmaster Klaus Winterhoff (Fujunakaniwa-Karate), Master Bernie Willems (Kickboxen), Grandmaster Ne-catin Yilmaz (KESY-DO), Grandmaster Salvatore Tiso, Grandmaster Rolf Neumann ( Kobutan), Master Andrea Capizzi (Sizilianischer Messerkam-pf), Master Tobias Mack (MMA), Master Bernhard Lang (Kali-Silat), Grandmaster Reiner Adams (Kempo), Master Kerim Duygu (Thai- Kickbo-xing ) und Master Dirk Dechan (Kick-boxen) are committed .

DECEMBER/2014 49

The proceeds of the charity seminar is used for auxiliary projects of “ martial artist with heart Initiative “ of the Martial Arts Association in cooperation with the International Children’s Fund Children Help eV under the chairmanship of Dr. Dieter F. Kindermann . Among the participants there were only consistently great feedback in relation to the smooth running and the variety of educational programs . “ The athletes were with heart and soul into it ,” Gerhard Strahl was pleased with the response .

“The Martial Arts Association - International (www.MAA-I.com )

under the chairmanship of Bernd Hoehle and the

SRC Viernheim under the direction of

Master Gerhard Strahl directed from the charity martial

arts seminar .

The magic of the martial arts pro-gram was after the City Council

opened the seminar with a moti-vating speech”

AUGUST/2014 51

O SENSEI MORIHEI UESHIBA

Drawn in Corel Paint using a Wacom tablet, and finally retouched in

photoshop.

By: Henry Binerfa

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Fine Art For Your Dojo

The Study of the Art of Ukemi

By: Sensei Henry Binerfa

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The Study of the Art of Ukemi

The falling techniques (Ukemis Waza) emer-ged from the necessity to protect the body

from the impact provoked by throw down tech-niques. So, its methods started to be perfected continuously, so as to lessen possible injury when falling down.

It is well known that the practitioner who fears falling usually results injured and his training ses-sions on the NageWaza prove to be bothersome to him since he will always be resistant as he is been thrown down.

This will actually break harmony during the tra-ining at the Dojo. On the contrary, the one who masters the techniques will never be afraid to be thrown down, but will take advantage of this si-tuation to make progress on the techniques and will do it sooner.

General features of the Ukemis

The Ukemis have two main characteristics:

1. To soften the impact when falling with the arms

2. To soften the impact when falling by a rotating motion.

To soften the impact when falling with the arms

By flapping or hitting with the arms against the surface the power of the body impact against the ground considerably decreases. Due to this rai-sing strength, the injury level decreases too. To make this strength to raise and become more effective, the arms must move at its highest speed, and must always hit the ground when they are all

“As I have often said if one hates to be thrown, one cannot expect to become a

master of the art. By taking throws time after time, one must learn how to take falls and overcome the fear of being thrown. Then

one will become unafraid of being attacked and be able to take the initiative in attack.

Only by following this manner of training can one learn true Judo waza.”

Kano Sensei

DECEMBER/2014 53

54

in all horizontal to the surface of the ground. If it is done before there might be danger for injury and the resulting speed limit will decrease.

To soften the impact when falling by a rotational motion

When the falling techniques are carried out, the body must adopt an arc position (as if it were a semicircle) this principle must be considered as

a premise. It prevents from falling tense. Besides, if one falls completely stiff, the vibrations of the impact will be easily transmitted to the head and the impact will be excessively intense. However, if one falls doubled, the echo impact can be avoi-ded, due to the relaxation that will gather all the vibrations together, and so, the power of the fa-lling will be transformed into rotation motions as they turn.

“When the falling techniques are carried out, the body must adopt

an arc position (as if it were a semicircle) this principle must be

considered as a premise. It prevents from falling tense”.

DECEMBER/2014 55

• When falling one must avoid adopting a square position, rather it is suggested to roll down like a ball.

• The body will turn to an almost relaxed tension, but with a complete master of the body.

• The head must never touch the ground, one must never forget that the training sessions are developed in a tatami, but its objective is to get prepare for real life situations where there will not be a tatami and a head injury might be lethal.

• The chin must be taken to the chest (the practitioners are always taught to look their be-llybutton or the knot of the safety belt). It pre-vents from neck motions and head injury, in this way, the neck is also protected from hitting the ground.

• When falling front, support never oc-curs following the back’s central line, since the spinal cord is located on this anatomic area, the right way to carry out this movement is from the shoulder to the opposed hip or viseverse. This technique lessens the risk of injury by pro-tecting the spinal cord.

• When the ground is hit with the arms to cushion the fall, the arms must not be exces-sively separated from the body; they must be about 45º from the body. A greater opening will provoke a greater impact against the ground and it may considerably affect the articulation of the shoulder; so, it will reduce the effectiveness of the movement and increases the risk for injury. Consequently, the movement of the hands turns slower and less vigorous, and the vibration of the impact will not be absorbed.

• When the downfall is gentle, the arms must be the last to touch the ground . It is

powerful; one must do just the opposite, to hit the ground with the hands to reduce the impact. It prevents from injury in the arms.

• The impact of the hands against the ground to deaden the hit, must be sharp, it avoids to keep the hand rigid and stretch but it keeps contact with the surface and favors the te-chnique as a whole; it also prevents from injury in the arms and shoulders.

• The elbows, knees, ankles and head must be protected from hitting the ground, since the risk for injury is real.

General features to be considered to carry out the Ukemis

56

On view of all these technical elements, the most important aspects to carry out the Ukemi can be regarded as:

Pose: it must be always in accordance with the type of downfall to be performed,

Position: it will be the one taken on by the arms, legs and head, and they must be in correspon-dence with the kind of fall assumed,

Chin position: the chin must always be taken to the chest,

Head control: the necessary muscles must be activated so that they prevent the head from hitting against the ground,

Body turn: the one carry out by the body as a conditioned reflex which orients them movements of the body in relation to time and space,

Take off: the body must be taken off from the ground or pavement in such a way that it feels hang up and free to carry out any kind of movement in the air, since by the gravitation law it will return it to the ground,

Running-in: it refers to the action carried out by the body on the pavement or floor which avoids impacts against any anatomical areas,

Backing or support points: it refers to the points that regularly support the body and prevent from impacts against the ground; the arms, hands, feet and major muscles from the external side of the body are regarded as support points.

Definitions of the different types of UkemiUkemis: Kaiten: Nagare: Tobi:

When the body remains on the

basic position of the falling after being

thrown down.

When it is carried out in a rolling

movement, rising immediately after

the impact.

When it is done in an easy manner in

relation to the tech-nique carried out by

the opponent, the main characteristic

of this Ukemi is its peculiar silence movement and the necessary combina-

tion to the oppo-nent’s technique.

When the downfall is carry out jumping.

DECEMBER/2014 57

Although we know about other classifications

related to the direction of the downfall such as:

• Forward,• Backward, • Lateral

If we classify the Ukemis from a tacti-cal point of view, we will find out that they are useful as:

1. A defense technique,

2. An attack technique,

3. An evasion or es-cape technique.

As a final piece of advice for this introduction to the falling tech-niques of Ukemis, I would like to have you view the Ukemi techniques as a mean and never as and end; since they are transitory techniques one might need at a given moment; either to protect the body from an acci-dental or provoked downfall or to restore and save time when involved in a difficult situationor in a combat. They can also help to find the necessary distance on a fight or to achieve a balanced position when the gravity center is lost or sim-ply to escape.

In an operational environment it is a transi-tory technique but in a daily training it turns constant, so, it must be seriously and frankly carried out.

58

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