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2

fter so many years writingabout Eris, the War, and inorder to be consistent, Ihave no choice but to writeabout his brother Eros. Mywritings, so often linked to

the path of the Warrior, necessarily hadto be inclined towards the former, butsince everything can be observed on itsopposite, the time has come to talkabout the sweetest children of Chaos,Eros, the Love. The word and the concept of love itselfare so worn out that we mustn't overusethem. It simply stinks. Thesentimentalism, softness and poetry, notto mention its gallant version, havedevilled them to the extent that not onlyhas they lost their original meaning, butthey has been perverted to aberrantlevels. To bring order to all this, we mustbe radical, that is, go back to the rootsand take an "aerial view", approachingthe topic from the general to theparticular level. First I will talk about theforces and then about how they affect usnowadays, but I fear that the magnitudeof the issue can make it recurrent in nexteditions; in the meantime, there goes thefirst one. In our tradition, Eros is the son of Chaos,opposite and complementary to Eris.Eros is ultimately one of the two essentialforces of the Whole, the one related tothe attraction, while Eris corresponds torepulsion. In essence, love is simply theforce of universal attraction; it is thetension of any thing or being to joinothers, while the war is the force thatseparates people and things. Yin andYang in China; In and Yo in Japan, thechildren of Taikyoku, the"undifferentiated"... we've called it manythings, but they are all but thenomination of the two differentiatedelemental forces. One pushes us toapproach, join and merge with theothers, the other impels us to separate,move away and repel them. The Greek version of the myth of creationadds (as everything which is Greek) atouch of functionality the easternversions don't have. There they made avery structural approach of the issue. Inthe West, by contrast, the focus was onfunctionality. Eros and Eris therefore aredefined by what they do (attraction andrepulsion) rather than by what they are,

unlike the Eastern version, "the tendencyof every being or thing of going from theperiphery to the center" (Yang) and theopposite trend, from center to periphery(Yin). Love, like war, feed on the differences;while in the first case there is a lack ofsomething that the other part offers, inthe second one both parties have orwant the same thing and consequentlyfight for it. You just need and want what you don'thave, that is the basis of attraction. Thatdesire is always based on the needs ofevery Being to fulfil itself, in other words,to grow beyond its own limits and as thecomputer of "2001: A Space Odyssey",to properly complete "its program". The "program" of Love is completing us;that is also the War's program.Completing us is a written imperishablecommand in evolution, from whichnothing can remain detached. It is clearthat each being tries to resolve this"program" according to its personalability, understanding (if any) and power,but the command is external andprevious to these details; as a higher law,we all serve it, and although we don't liveit in the same way, as this depends onour level of consciousness, no oneescapes its mandate and this is commonto all beings. The planets turn around thesun, the tree branch looks for its rays,the lion looks for the lioness, the male forthe female. The force of attractionactivates mechanisms to meet the"program" and this is at the service ofthe directions of evolution: forward,upward, inward, toward the Whole. Either way, the truth is that the word loveis, for most two-legged fools inhabitingthe planet, far from its great and originalsense. Love has been reduced to a termthat only evokes the level of emotion(which is true!), but that is but a part ofour Total being. In a previous issue Ireferred to this emotionally level as "thevibrating" and I enlarged on its role as anamplifier of the "feelings" and a preludeto the "understanding". Human beings"ARE" the result of these three levels andalthough we all have more strength orease in some of them, in order to meetthe "program" we will have to learn touse all three and make it using them forthe purpose they were designed. Wecan't decide on the emotions or feeling

with the head, nor is it prudent toactivate a single level without the others. The energy meteorology of the time isunbalanced, however. Today the level of"vibration" has attacked the groupconsciousness, so that the vast majorityjust wants to live in it. Emotions controleverything! And this level is not only usedtoo much, but it is also used in a vulgar,sloppy and cheap way. Sentimentality,gossip magazines, quick emotions,preferably canned, disposablerelationships, all that forms the "fastfood" of the emotional level. Saying "Ilike it" is too often a valid excuse orreason for anything ... but that is whatpeople adore... It's cool! Everyoneconvinces everyone that this is the new"great truth". This childish attitude, whichis but one phase of learning ofindividuals and groups, has corruptedthe true value of love concept. The confusion on this point is a sign ofthe times. It's an ill wind that blowsnobody any good, we mustn't forget, theemotional level is the best base tomanipulate people and there are manydark powers trying to prevent peoplefrom being free. In order to achieve thatstate, it would be necessary a hugeeffort, a quantum leap that would enableus to get the "vibration" feed the"understanding", because withoutunderstanding it is simply impossible tobe free. On the way to understanding,half of 100 is 80. That last upward stageof the energy cycle, which goes from theemotional to the mental level, is alwaysthe hardest, the most energy-consumingstage, but it is the one which finallytransforms the energy in its noblest form,the light. The leap to "understanding", forits intrinsic difficulty, for the importanceof an emotional level without substanceand for the lack of people's energy,makes of the mental level the weakest ofall of them nowadays. The misusedenergy in the emotional level becomesdeeply entrenched in a black hole unableto emit light, or allow the natural cycle offeeding go on toward the understanding. As for the "feeling", of course, that's also“cool”!, but only when it comes toexperiencing pleasure. Today hedonismis the "religion" of almost everyone,nobody wants to hear about effort orpain. Well understood hedonism wouldbe an achievement, a decision when you

RIAL

ALET'S TALK ABOUT LOVE...

“Love in one hand, War in the other, the Holy Warrior defeats the darkness ofignorance with his light sword. Hanta Yo!”

Editorial

have the power and knowledge to takeresponsibility for the backs that every actionentails. A Galician saying said "a month ofadversity, a year of university”, but... that'snot true at all nowadays! Before, those thingswere learnt naturally by facing the harshnessof life in nature, but today's education, theprevailing ideology and life conditions, do notprovide something so basic and so essential;it must be done in "manual", because the"automatic" no longer works and it isswimming against the tide. The world is afield full of mines and we are not givingyoung people even a good map. Man forhimself! The vision of love for young people (and fornot so young people!) is in the extremes, andit is either soft and pink or fully cynical orsceptical. The approaches go from cheapsentimentality and express passions to totaldenial. Out of the natural primary explorationof new things, many people make a routine;without delving into its contents, withoutunderstanding its implications, they sufferseveral consequences which leave a deeptrace on the cell memory, psyche body(abortions, sexually transmitted diseases,anxiety, mistrust, fear of commitment,incapability of dedication, etc...) They forgot,or maybe they never knew, the true extent oftheir power: Love is something too big andpowerful to ignore or underestimate it.Beyond the experiences of each person inthe emotional level, not being able tounderstand the importance and true meaningof Love, in its broadest conception, is adeficiency similar to a disability; and this, forhe who lives it l ike that, is an absolutedisaster, a disaster which makes him aneternal lame man, since the two legs carry usthrough the "Way", one of Eros, the other ofEris. Often the love between man and woman isconfused with passion, but this is only acircumstantial result of it. But the love thatbegins in feeling and is then amplified in thevibration must find an echo, meaning anddirection in the understanding, so that it isthat level which modules its direction.Passion "heats" the energy, so that thisclimbs up the column (kundalini), andbecomes light. Passion is an ephemeralflame, but it can be revived when it serves ahigher purpose. The force of attractionshould be able to beat and also express itselfat all levels and every level should be able tomeet its own functions. The "feeling" of lovebetween man and woman is first expressedin the sexual experience. It is true thepopular saying which goes: "the true love isthat which comes through the hole!" Love incouple is first expressed through sex, butremaining at that point is like using a cannonto kil l f l ies, and the bullets, which areexpensive, are paid sooner or later. Awaresex, with all the games you want (if agreed),has been even in the Eastern tradition arespected way of lighting; but reducing someTantrism to some techniques or Kama Sutra

positions is once again a huge waste.Exploring this journey takes time, experienceand shared will, but when the offer is so bigand wills are so small, it is easy to get lost inthe tumult and confusion, a path thateventually allows us to see just the "shopwindow", but not "entering the store" andmuch less "buying". Exploring aware love is a rare adventurenowadays; lost among the branches we can'tsee the forest; pushed by the urgent, werelegate the important things; disturbed byone thousand trif les, ignorant of theessential, we will be like leaves that the windtakes away. The worst thing of suchapproach is that the accumulation ofnegative experiences, resulting from theaccumulation of disappointments, can leavescars very difficult to heal. When we areyoung we ram thinking that energies areendless. We fall and we get up withoutlicking our wounds, but the traces remainthere. Over time we understand more andmore that our body (emotion and mind) hasits limits, that we have expiration date andthat the misuse "of the equipment" not onlydestroys the "guarantee", the worst thing isthat afterwards, there is no one to complain! Everything is used in a higher game whichwe are all part of; the Greeks called it fate, aWarrior calls it instinct: "Love is the law, loveunder will" was the motto of the famousmagician Aleister Crowley. Will, love anddestiny come together in a paradox difficultto decipher in each of us, howeverthis hieroglyph is an urgent mandatefor us all. Everything serves to the greatevolution purpose and it isour obligation to find theclues to unveil themystery withcommitment, effort andhonesty. Love isindispensable for this.By following the easypaths we wil l neverarrive..., the usual pathsalways take to the placeof "never"; so we mustbreak routines and aboveall, be extremely brave toovercome our ignorance andour preconditions, making themconscious and turning them offbefore they destroy us as aself-fulfilling prophecy. We are talking about greatbraveness, we are talkingabout personal power, we aretalking about energy and its use,about relentless fight against theinternal enemy, about effort andcommitment without limits ... Hangon! It sounds familiar! Are we notthen talking about the path ofthe Warrior?

Alfredo Tucci is General Manager of BUDO INTERNATIONAL PUBLISHING CO.e-mail: [email protected]

Vital Points

15

Grandmaster Pantazi rushing in this newreport presentation will be one of his lastDVD, a key issue in all types of combat nomatter regardless of the style practiced,these grips and controls, that if approachedfrom the perspective of Kyusho. In his usualdidactic language, always calm andfocused, is breaking down the secretsPantazi inherited traditions rooted MartialChina, to act at the same time we do agrip on the nerve centers of energy andotherwise to facilitate the work of control ordownstream prepare, annulment,immobilization, or simply escape.

Grandmaster Pantazi been achieved in allthese years an extensive audiovisualproduction is undeniablereference for the future ina matter that only a fewyears ago was a realunknown in the OldWorld. A work whichwe welcome as ithas been and willremain a f irmcommi tmentby theeditorial lineof themagazine.

D o n ' tmiss thisg r e a tDVD!

16

Report

The Art of Seizing

Apart from the idea of Tuite or Joint Manipulation, is the methodof Seizing. It is a major part of many Chinese based arts and to alesser degree in Okinawan based Arts. Now seizing is a greatmethod for control, but it depends heavily on the skill and orrelative sizes of the two combatants. It is also limited to the arms,head and neck for practical application. As an example of this, ifa small Man were to try to seize the arms of a substantially largeropponent, the size of the smaller mans hands to firmly grip theright structures of the larger opponents arms would be the maindifficulty referred to. Also to think that one could seize anopponent's leg accurately or without exposing himself to the gripor strike of the opponent would be foolish.

First the art of seizing can be used to control as mentioned, butany time you spend continuously holding an opponent isincreasing opportunity for struggle and escape. This is moreprevail ant the longer the time held in a hold as there is time forthe opponent to gain balance, clear thought and advantage. Alsoif pain compliance is a part of the particular hold you have, after ashort time the individual will get used to it, numb in that area orjust fight away from the pain. However there is a way to workefficiently with this method and it lay in transitional flow andmanipulation.

If you work to seize and release to re-seize you can keep theopponent off balance with pain compliance, anddysfunction of their body control, without them gettingused to it or being able to fight it. Just as you feel thembalancing you can transition to another target or hold, aswe will describe later, but and set them off balance in yetanother way. This will instill a sense of confusion andeventual surrender of escape attempts.

As seizing is a highly complex program, and as such has ahigh difficulty and skill level, there are a few basics to good seizingthat must be addressed as well as countless hours spent trainingto accomplish. For ease of communication I will name thesebasic grips, but it is the name that we should concentrate on, it isthe method and the targets. It is also not in the scope of thisarticle to name all the possibilities, as that is where the challengeand intrigue comes in. Once the basics of any method arelearned it is the individual that builds their own skills and personalrepertoire.

Components

There are two basic grips we will work with here being the “Catch”and the “Grab” positions. The “Catch” will be a short hooking motioncoming from outside across the chest. The “Grab” will be a circlingoutward and gripping action. Simply mastering these is a vastundertaking when you being to increase speed, angles, multipleincoming attacks, etc., with the increased stress that the speed willcause. In both gripping actions it is also necessary to adhere slightlyand lightly as you deflect the trajectory of the attack before attemptingto apply the grip. Attempting to catch or grab a wrist or limb that istraveling at high rates of speed is difficult but much easier to touch andguide temporarily as you apply the grip.

In both the catch and grab, the same gripping mechanics are used;the name will simply depict the angle that the grip was initiated. Firstboth the grips it is the middle two fingers we use for maximumpenetration, targeting and safety. These are the most secure fingers togrip with, as the outer two are prone to muscle or ligament damagedue to no support on one side. Say the opponent rapidly withdrawstheir limb, by placing your strength on the index or small finger asthe limb jerks back, the outer support structures of thesefingers can be torn from the over extension of the rangeof motion.

They are also far stronger asthey are braced

and have more contracting muscles in play,allowing more forceful and secure seizing.The thumb in these two grips wraps

17

Vital Points

opposite the fingers but is there as an anchor and support rather than adding additionalpressure. This will allow more focused strength on the target with one of the two middle

fingers. Also it is with the first joint of the fingers that you contract inward as opposedto folding the whole hand for the grip. This allows a more direct pressure and anglefor the attack as opposed to a more generalized action. As you apply this grip thefingertips curl in as a corkscrewing action rather than just a pulling action. Thetorque created is a vastly stronger application of physics than a linear compressionwould be as well.The outer two fingers must not be extended as it could lead to injury or worse, the

opponent catching you in a Tuite (finger lock), negating your grip and subjugating youinstead. They rest lightly on the arm or wrist to assist further in measurement and

target location. Using the first applicablearea for seizing at the wrist

as example wil l clearlyil lustrate this concept.

Say you havesuccessfully gripped

your opponent'swrist with either

the Catch orG r a b .

19

Vital Points

Your closed fist (not tight as mentioned above) will slide intocorrect position to utilize the middle two fingers as the wristtapers until the beginning of the hand muscles extend. Nowyour small finger or index finger will lie against the widenedhand structure (depending on the grip you secured) andmeasure out the correct distance that one of the middle twofingers will rest on the nerve target exactly.

Once gripped there are two basic twists with the hand thatare needed to maximize pain and dysfunction. This is tostretch or pluck the nerve once it is pinched against the boneas it will transmit a shock into the nerve and cause a similarlysharp reaction. This is what will unbalance the individual asconscious thought is temporarily suspended while monitoringthe impulse takes precedence in the brain. The motions arerotating and twisting actions (again the names are not the issuebut rather the action associated is). Rotating is rolling the hand

back as if using a throttle on a motorcycle andtwisting is the sideways twist as if taking thecover off of a jar. The quicker and more focusedthese are using the middle fingers on the nerve

as the fulcrum, the more reaction you wil lachieve.One more important key to seizing is that of

alternate pressure. If you grip with the same pressureon all targets, the body is more able and apt to resist.

However when you alternate pressures on the seizingmethods, the nervous system has a much greater difficulty

in assimilating. This in turn alters the proper andresponsive abilities of the nerves and physical motion of

the muscle reactions.

Targets and Targeting

Now the targets are numerous asthere are single and combinedactions that can be accessed.But one should always start withsingle arm targeting as they will

be the more elusive andrequire the longer period of

training to ingrain. As youadd secondary targets

using the same gripping

and torque actions they will be easier as the initial seize is already inplay and caused an immobilization. This will make the followingactions easier and even more adaptive. As time progresses andtargets get more familiar and easier from consistency, you can employthem more rapidly. Literally crawling up the opponents arm is possiblestill accessing the nerves. The result can be as individual as thetargets as well, from weakening the individual so their strength andcomposer weaken and body slumps, to making each one a sharpreactionary motion that appears as if the seized person is actually inseizure or electric shock therapy.

A single hand Catch or Grab concentrating on the L-8 or Lung point#8, on the inner aspect of the persons wrist, (actually located on theRadial Nerve), is the primary Seizing action that will allow so manyother seizing opportunities. This when practiced diligently enough canbe quite debilitating to your opponent, but by now using a secondaryhand we can not only increase pain, dysfunction and directional

unbalancing, but we can initiate an accent to the source being thebrain.

Combining the initial grip with the other hand in a parallel, oppositeor even perpendicular relation to each other will add to the potencyand affects. It is now possible to weaken on the first and shock on thesecond or any combination thereof. This can completely confuse anddisrupt the opponent's balance, mental clarity and bodily functions.

The seizing does not need to stop or be limited to just an arm, wecan actually seize various nerves in the head and neck as well (whichare much easier to control the individual with). The consistent practiceof getting between the muscles, bones and tendons will yield avaluable education for use in all Kyusho application, from grabbing tostriking.

Misconceptions

The misconception that many have however is that the seized limbor target must be held is what lends questions to it's usefulness in acombative or responsive action. These targets we must remember arenerves and translate information to the brain in 1/5 of a second… sothe time needed to be on a point as at most that long. The Idea ofseizing as in “Seizing the moment” … is to grip correctly to instantlyimmobilize the limb and subsequently the opponent. In many targetsyou will find that plucking the nerve as if a guitar string, will cause amuch better reaction and it will be much easier to accomplish in themotion of transition.

In this DVD Master Pantazi focuses on the traditional 6 Ji hands of the Bubishi, a treasureamong the oldest classic martial arts texts, and its application to specific techniques on vitalpoints. These hand weapons were ideal for attacking the Blood systems of the body causingnot only immediate incapacitation, but over time internal bleeding lead to delayed fatalconsequence. However as intriguing as these unique hand positions and their affects are, theyare not a plausible or even practicable method in modern times.There is hope though, as theseJi Hands can be and are perfect delivery systems for the more modern adaption of Kyusho(Vital Point) applications. By attacking these structures, more immediate incapacitation ispossible as it was with the ancient Dim Mak method, but with no ill or damaging effects persay. These secrets have revealed themselves over decades of research and hands on trainingutilizing Kyusho to incapacitate and the refinement of the attacking methods. It has brought usfull circle to again embrace the ancient ways so that it is not lost to time or by the rule of man.

REF.: • KYUSHO17REF.: • KYUSHO17

All DVDs, which is produced by Budointernational, is provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however never offered witha special hologram sticker. Besides ourDVD is characterised coverings by thehigh quality in pressure and material. Ifthis DVD and/or the DVD covering do notcorrespond to the requirements specifiedabove, it concerns illegal pirat copy.

PRICE:25 EUROS

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bbuuddoosshhoopp@@bbuuddooiinntteerrnnaattiioonnaall..ccoommwwwwww..bbuuddooiinntteerrnnaattiioonnaall..ccoomm

The old Masters knew the more focus you trained, the higherthe skill level you attained. And so it is as we focus on one ofthe 6 Ji Hands of the Bubishi, the Iron Claw and it’s awesomepotential in Kyusho. You will learn how to correctly form anduse this specific hand position to cause physical pain,dysfunction and even render your opponent unconscious. Thisweapon is not new to most in the arts as it is one of the more

common weapons. However it is not typically employedas was intended, nor is it typically taught to

target Kyusho or Dim Mak in modern times.This is a very versatile weapon that

originally targeted the weakeranatomical structures of nerve and

blood vessels. These Kyusho andDim Mak targets can be locatedand attacked using thisweapon on the wrist, forearm,upper arm, neck, face, evenon the leg. Learn thispowerful technique handeddown through the centuriesas we work Kyusho“Seizing”

REF.: • KYUSHO18REF.: • KYUSHO18

All DVDs, which is produced by Budointernational, is provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however never offered with aspecial hologram sticker. Besides our DVDis characterised coverings by the highquality in pressure and material. If thisDVD and/or the DVD covering do notcorrespond to the requirements specifiedabove, it concerns illegal pirat copy.PRICE: 25

EUROS

PLUS S&H



o discover the heart and soul of Kajukenboand understand completely why and howKajukenbo came to be what it is today youhave to look through the web of facts andmyths to embrace the transformation andevolution of the system, styles, methods and

expressions. You would also have to understand the mentality of thefounders of the original Kajukenbo System, Kenpo-karate style, their methods and personal expressions,as well as_how their true character could have beenmisunderstood and how some of their disciples withgood intent, and some with self-interest, bent theessences of Kajukenbo for power and self gain. This is true not just within the Kajukenbosystem, but pretty much all forms of martialarts. If we were to use religion as an example,worshipers tend to feel that their way is the onlyway to heaven when in fact; the roads to Romeare many. In breaking down the word History,_it is HIS-STORY that isrecorded and taken as History and may not be YOUR-STORY. Unfortunately, we can only rely on the integrity andaccuracy of the recorder. _The four pillars of Kajukenbo are the Kenpo-karate (orKempo, also known as “the Original style”), Tum-pai,Ch'uan Fa and Wun Hop Kuen Do. Kajukenbo has been misleadingly recognized asbeing mostly Kenpo-karate. Coming out of the era in Hawaii (late 1940'searly 1950's) when the Emperado brothers,along with four other young men in their mid20's, banded together and developed aneffective fighting method based on no-nonsense self- defense. Back in those days, fistfights and stabbingswere quite common in the streets ofHonolulu, not just amongst the locals, butalso between locals and U.S. sailors that werestationed there. Unknowingly, their brand of “Black BeltSociety” would soon be called Ka-Ju-Ken-Bo. It has been assumed that the name came fromKenneth Funokoshi, who was a Blue Belt underEmperado's Kenpo-Karate Class at the originalPalama Settlement Dojo in Honolulu and thenephew of Gigin Funakoshi, the creator and

He is an important part of the history of modern martial arts, and therevolution of the styles syncretic towards effectiveness, his name isknown to the real experts and fans around the world, but also even bylaymen, for his son Marc Dacascos is one of the most popular action filmstars of the past decades. Today we have the honor to present his first jobwith us on DVD, which initiates a series of brilliantly written andaudiovisual publications, in the coming years..

TText:

Studio Pictures: © Alfredo TucciAl Dacascos

22

founder of Shoto-Kan karate. However, the credit goes to Frank Ordonez,who became the artistic writer for thematerials and articles written onKajukenbo at that time. With that said, the easiest way to break

down the history is to say that the"SYSTEM" is Kajukenbo. The STYLES areKenpo-karate, Tum-Pai, Ch'uan-fa andWun Hop Kuen Do. These styles or pil lars make up the

foundation of the KAJUKENBO system butalso uses other arts as support to enhanceeach individual pillars. I.e. Mix Martial Arts, a.k.a. MMA, Sambo,modern military arts and fighting methods,healing arts and medical field practices. An interesting note is that while manywould consider Kajukenbo to be theoriginal base of MMA (Mix Martial Arts) Iwould strongly suggest that Kajukenbo'sMMA stands for “Mean Martial Arts” due tothe attitude and applications of techniquesof fighting however necessary to surviveand win. The METHODS are the teachingstyles, or the instructors way of teaching: Emperado's Method, Reyes' Method,Gaylord's Method, Dacascos' Method,Ramos' Method, Rebelo's Method, Wulf'sMethod, Bettencourt's Method or DanBaker's Method. EXPRESSIONS are theaccents of the method. This can be confusing but in reality, it isnot. The explanation is only a concreteway for the individual to understand thatafter the STYSTEM, STYLE, METHOD,comes the freedom of EXPRESSION, theheart and soul of the art. For example, in Europe you would seeuniforms saying Kajukenbo System,Kenpo-karate Style, Emperado Method,but the expression of that method, is theteacher that is teaching it. And if that happens to be you, than it isyour expression of that method. We haveseen many who claim to teach a setmethod but if you take a closer look, it isthe expression or interpretation from thatmethod of the instructor that you see. Another example; Kajukenbo System, Wun

Hop Kuen Do Style, Dacascos Method,

Bruno Rebelo's expression. The four pillarsbelow give an idea of Kajukenbo as it reallyis and not just standing on one pillar asmany think, especially in Spain where themisuse of the word Sijo (creator) is used.On a side note, first let me clarify that thereis only one Sijo and in reality, Sijo means“The creator”, the Divine or God. Using“Sijo” as a word by itself implies God.When using the word Sijo, it should beused in a sentence such as Sijo ofKajukenbo or Sijo of Kenpo, which wouldmean Creator of Kajukenbo, or creator ofKenpo. If on the other hand we are referring to theart's creator, the correct word would be Jo-tze (Jo-Si) and saying it that way, the wordcould stand-alone. The first pillar, theoriginal Kajukenbo Kenpo-karate style, is acomposite system of martial arts that wassaid to be formed between 1947-1949 byfive young men in their mid 20's fromvarious forms of martial arts. Mr. P.Y.Y.Choo is credited for the Karate side, whichis the first (KA). Mr. Frank Ordonez for Ju-Jitsu, while Mr. J. Holck contributed Judo(JU-JU-Jitsu). Mr. Adriano D. Emperado contributedKenpo (KEN), as well as the Filipino fightingarts. Mr. George Chuen Yoke Changcredited for the boxing (BO) aspects of theart, including both western boxing andChinese boxing, more commonly calledKung Fu or Gung-fu. None of these men were GrandMasters atthe time, Masters or Professors but merelyInstructors and students of their chosenmartial arts form. Today, after years of practices,achievements and followers, all of theoriginal Co-founders attained the title ofGrand Masters. At the time of this writing, out of the fiveoriginal co-founders, two Senior Grand

Masters are alive, Grand Master JosephHolck in Arizona and Grand Master FrankOrdonez in Hawaii. In the Kajukenbo-Kenpo-karate style, many of the olderguards who are comfortable with stickingto just what was taught to them, hastherefore formed the base of what we callthe original or traditional Kajukenbo. Many of the same charts, tricks, techniquesas taught in the early development ofKajukenbo still exist today with little or nochange at all. Many of them claiming toteach the Original Kajukenbo system,Kenpo-karate style, Emperado Method. Butit is their interpretation or expression. In this Pillar, and as in its beginning, all ofthe terminologies used were of Japanesedue to the influences of individuals likeJames T. Mitoses who is credited tobringing Kenpo to Hawaii and is theteacher to the late and famous ProfessorChow and Professor Emperado as well asother Japanese Instructors teaching Judoand Karate at that time. This time period ofthe early 1960's also gave way to majorchanges in the organization of Kajukenboand the legal registration of the nameKajukenbo Self Defense Institute of HawaiiInc.. Robert “Twinkle” Kawakami became thepresident and Chairman of Kajukenbo andAdriano D. Emperado was the founder andfigurehead, while the traditional whitekarate uniform gave way to the BlackKenpo uniform. Many students wore red tee shirts on theinside of their Black uniforms while theinstructors wore Black. The second pillar,the Kajukembo Tum-Pai style, came aboutwith Chief Instructor Adriano D.Emperado's frustration with where thedirection of the Original Kajukenbo Kenpo-karate was heading.

23

Great Masters

“Kajukenbo is indeed ahybrid art and itspractitioners are

encouraged to findtheir own expressions,

it is part of theessence of this

adaptive and eclecticart form”

With many of his top instructors migrating to the USA Mainlandfrom Hawaii, and the loss of control and conflicts that followed,Emperado changed the spelling of Kajukenbo to Kajukembo andenlisted Al Dela Cruz and myself Al Dacascos to head what hewould call Tum-Pai Gung Fu back in 1962-63. Dela Cruz left Chief Instructor Sid Asuncion of the Kenkabo offshoot of Kajukenbo system to learn more advanced materials as Idid later hoping to attain that certain quality of achievement bybeing with one of the co-founders of the Original Kajukenbo. We had no idea in what direction Emperado was taking us but wewere very eager to learn. Because of his association with the Chinese Community and

many of the Chinese Gung fu instructors Emperado was“hanging” with,_their influence took hold in Emperado as he

began to implement southernChinese fighting concepts,

principles and forms. Mostheavily was southern Sil-lum,

Hang-ga, Choy-li-fat, Yang styletai chi, Hsing Yi and chi-kung.

I on the other hand was

also a student of Sifu Buck Sam Kong of the Sil-lum Pai system ofGung-fu for a short period so I was the bottom man of the newlycreated Tum-Pai section or pillar in Kajukembo. The order was Emperado, Dela Cruz and then me, Dacascos andit stayed this way until I too migrated to the USA mainland inFebruary of 1965. I settled in Northern California, as did otherKajukenbo practitioners before me. The name Tum-Pai would beretired from Kajukenbo in 1966 and would officially come back asKajukenbo Northern Tum-pai in April 1984 when Sifu Jon Loren ofKelso, Washington presented the new version of Tum-pai toProfessor Adriano Emperado in Oregon and petitioned Tum-pai toagain be recognized as the second pillar. The third pillar ofKajukenbo became known as Kajukenbo Ch'uan Fa and thefounders of this section were myself, Adriano Emperado, and AlDela Cruz. This section became the most influential as the emblem becamethe international symbol of Kajukenbo. The Chinese charactersCh'uan Fa Gung fu, are in essence Chinese Kempo-Gung fu.

This wording alone affects theoverall percentage of Kajukenbo

practitioners in the world as faras identifying the pillar theybelong to.

This evolution came when I wasintroduced into the San Jose

Chinese Cultural center of which SifuPaul Ng was teaching the Fu-Huk systemof Kung fu as well as the Northern Styleof Shaolin Kung fu. Sifu Ng was also a student of ProfessorWong Jack Man, the man that foughtBruce Lee in a famous battle between

the two styles. It was the influence of the northern style of

Kung fu in my growth and development thatI could no longer say that Tum-pai be called

Tum-Pai. After a couple of years of intense training with

this style of Kung fu, I began to introduce andimplement the forms and fighting principles into

Tum-pai which I felt could not be called Tum-paianymore. The three of us, Emperado, Dela Cruz and me decided todrop the name Tum-pai and use Ch'uan Fa which was amore generic form of Chinese Kempo, being that wewere using Chinese terminologies to replace theJapanese terminology previously used anyway.

25

The Kajukenbo Association of America adoptedthe Emblem and the name in 1967 and twoyears later, the International KajukenboAssociation was formed and it too used thelogo and name. The fourth pillar is KajukenboWun Hop Kuen Do and was official lyrecognized in 1969.

The name Wun Hop Kuen Do or WHKD stoodon its own identity. I became the solefounder of this section as my innovation orrediscovery of past concepts and principlesbecame a strong influence as to the way Iwas expressing myself in the martial artscommunity.

Great Masters

The heavy influence of the 25 unique technical fightingprinciples adopted from Joe Lewis and the concepts andinterpretations took me further… incorporating significantlymore eclectic fighting elements into the system, as well asadditional Filipino fighting arts which included edged and blunt

weapons resulting in a style thatprides itself on being reliableand practical in real-l i feencounters. The main characteristic ofWHKD is it's inside fluidity,and unique drills

that enhances the flow or chi. WHKD is commonly referred toas a "system without a system". The art seeks to adapt in anysituation and incorporate new techniques and methodologiesas practitioners encounter them. Within this framework, thestyle still maintains it traditional roots in Kung Fu, teaching the"ways to preserve rather than destroy", and seeking to instill arespect for humankind and sense of calm that should bepresent in any true martial artist. In addition the philosophy of

remaining "unfixed" also applies to the defensetechniques, in that there is no defined

response to a given situation, andthey attempt to fit the situation as itarises. This idea leads to selfdefense that is creative and allows

one to think about what is the bestresponse. There are many drills to allow

practice of this type of fluidity and creativitythat lead to the ability to respond reflexively to

any situation Dacascos' Wun Hop Kuen Domethod has produced many champions

27

and celebrities in the Kajukenbo system. One of them is Mark Dacascos, Actor and martialartist seen in such films as “Brotherhood of theWolf”, “Crying Freeman”, “Only the Strong” andover 30 international films and TV productions,including his role as the Chairman on “Iron ChefAmerica”. Other champions such as Malia Bernal Dacascos,Eric Lee, Karyn Turner, Karen Shepard, ChristianWulf, Emanuel Bettencourt, Winfred Joszko, andEric Lee make up only a small portion of the vastlytalented pool of Wun Hop Kuen Do fighters, teachersand students. Within this framework comes the Kajukenbo Ohana

Association which is the umbrella organization tounite all of the Kajukenbo organizations worldwide.“United but Independent” is its motto, with its manyPillars and sub pillars to be known. Kajukenbo is indeed a hybrid art and its practitionersare encouraged to find their own expressions, it ispart of the essence of this adaptive and eclectic art

form.

The existing Kapap is a hybrid system of fighting in whichone studies what works and what does not but always under areal foundation, it is principles based. A technique may workor not, whereas a principle will always allow us to flow fromone movement to another and permit us to have control overthe situation. Within the "Kapap Combatives" philosophy, thiswork offers an approach to real combat based Muay Thai, one

of the most effective ring arts, but that in the streethas to adapt to different type of rules. The

most important rule we are talking about isthat "on the street there are no rules".

W. Paardekooper, Instructor Level 4trained directly under Avi Nardia

and became a great Muay Thaifighter, with this DVD he hassurprised us with this incrediblyelaborated system of selfdefense. With this samesystem he has trained to a lotof people who don´t practicesports but are only interestedIn learning how to defendtheir families and themselveseffectively. Since they don't

have enough time to conditiontheir shins and fists like

professional fighters they learnhow to use the elbows and the

knees, very strong parts of the bodythat can cause a lot of damage to

their opponents. When you cannot avoid the fight you have

to fight but then there is only a rule: WIN!!!

REF.: • MUAYKAPREF.: • MUAYKAPAll DVDs, which is produced by Budo

international, is provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however never offered with aspecial hologram sticker. Besides our DVDis characterised coverings by the highquality in pressure and material. If thisDVD and/or the DVD covering do notcorrespond to the requirements specifiedabove, it concerns illegal pirat copy.

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In this DVD Guro Dave Gould presents us with the effective“Doble-Baston” of Lameco Eskrima. Learn the secrets of PunongGuro Edgar G. Sulite as we focus on the fundamentals of hisunique combat effective Pilipino fighting system better known tothe world as Lameco Eskrima. In watching this DVD the viewer willbe meticulously guided through essential double stick work suchas starting positions, transitions, striking, recovery, range, line of

engagement & the importance of training with & withoutprotective equipment. In addition the viewer will

explore in-depth the transitional range of“Largo-Medio” where the techniques,

principles and concepts of “dose-dose”,“Dos Manos Ikis”, “Sabay”, “Dos Manos

Dos Labahas” & “Lameco 1-2-3”among others will be presented,discussed & trained in great detail.After which Guro Dave Gould willpresent us with the very effective“Hand sparring” progression ofLameco Eskrima. Aggression,speed, timing, power, recovery &position are brought forward inones combative development foroptimum gain as Guro DaveGould takes the viewer from arealistic training environment to

an essential non-compliantsparring environment. A must see

for any Pilipino Warrior Artenthusiast or Martial Artist who takes

their training seriously.

REF.: • GOULD6REF.: • GOULD6

All DVDs, which is produced by Budointernational, is provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivX orthe like is however never offered with aspecial hologram sticker. Besides our DVD ischaracterised coverings by the high qualityin pressure and material. If this DVD and/orthe DVD covering do not correspond to therequirements specified above, it concernsillegal pirat copy.PRICE:

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Let Weng Chun Kung Fu´s Grandmaster AndreasHoffmann personally guide you to learn the ancient 61/2 principles Form. Learn the basics of Weng ChunKung Fu, weapon fighting and explore the secret of theSouthern Shaolin Temple. See with your own eyes whymany people see Weng Chun as the forefather of Wing

Chun and Hung Gar and as one of the mosteffective martial arts. Learn to fight

with principles, because in a realcombat situation the confusion

generated by surprise, fear andstress is too great to solve it

with a large number oftechniques. Learn the sameform with double knives,long pole and woodendummy. Become aChan/Zen warrior throughthe application of theprinciples in your daily lifeand boost your energy

with the help of this ancientForm.

REF.: • SARG16REF.: • SARG16

All DVDs, which is produced by Budointernational, is provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivX orthe like is however never offered with aspecial hologram sticker. Besides our DVD ischaracterised coverings by the high qualityin pressure and material. If this DVD and/orthe DVD covering do not correspond to therequirements specified above, it concernsillegal pirat copy.



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ttp://www.youtube.com/watch?v=hcRS9FOTKG0

Many martial art teachers who teach techniques andexercises and who have adopted the sparring system ofFull-Contact always find the same problem: to keeptheir students. Most are workers and logically they don’twant to be injured or don’t want to get a black eye.

Bruce Lee had to face the same problem andhe noted that, as soon as his students

began their Sparring training at afull contact, they decided to

stop training. It was like thisthat, trying to find new trai-

ning methods, he discove-red a safe way to applythe exercises and techni-ques learned in contactSparring. This is themethod that TimTackett shows us in thisnew DVD.

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To mark the 100 anniversary of the birth of Imi Lichtenfeld,Yaron Lichtenstein, world´s maximum degree in Krav Magaand certified as 9th dan by Imi Lichtenfeld, decided toundertake an extensive project in memory of the creator:explaining the official original Blue Belt program, such as it

appears in the manual published by Imi 1971,in a series of 6 DVDs. The whole

essence of the system, both in itsphysical and mental, appears in

the Blue Belt level at thehighest level a student can

achieve.Among other techniquesin this DVD, and with thehelp of his son Rotem,Grand Master Yaronfocuses once again onone of Imi's mostfavorite techniques - thefoot work for kicks in thekrav-maga. Also, we willshow a few ways how to

strengthen parts in bodyused for punching and

hitting.

REF.: • YARON3REF.: • YARON3

ll DVDs, which is produced by Budointernational, is provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however never offered with aspecial hologram sticker. Besides our DVDis characterised coverings by the highquality in pressure and material. If thisDVD and/or the DVD covering do notcorrespond to the requirements specifiedabove, it concerns illegal pirat copy.

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http://www.youtube.com/watch?v=GlS1JxvZJH0

To mark the 100 anniversary of the birth of Imi Lichtenfeld,Yaron Lichtenstein, world´s maximum degree in Krav Maga andcertified as 9th dan by Imi, decided to undertake an extensiveproject in memory of the creator: explaining the official originalBlue Belt program, such as it appears in the manual published

by Imi 1971, in a series of 6 DVDs. The wholeessence of the system, both in its physical

and mental, appears in the Blue Beltlevel at the highest level a student

can achieve. In this series, andwith the help of his son Rotem,

Grand Master Yaron explains indetail all the defenses againstfrontl attacks with emptyhands, against kicks, specialexercises, multiple attac-kers, choke or grip situa-tions, all defenses againstattacks with stick, knifeand gun, knife againstknife, and finally the moreadvanced exercises: defen-

ses against rifle with a bayo-net. A work that will enable

you to understand the magni-tude of the creation of Imi, the

greatness of Krav Maga as selfdefense martial art. In the first DVD

in the serie of the blue belt in the krav-maga we will show and teach advanced

defenses against punches and also the side-step technique, one of Imi’s most favorite defense againstkicks..

REF.: • YARON2REF.: • YARON2




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47

The Grand Master Yaron, ninth danKrav Maga, grade given by the founderof the style, returns to the fray with anew job, teaching many of the specialfeatures that made it great to KravMaga as taught by Imi, the founder ofthe style.

This time, though focuses on thekicks, it does add a few points of thosewho only received the hand of a greatmaster. Does he emphasized that whatis taught in these DVDs and we arepresenting texts in recent months, isnothing more than strictly conformedwhole training techniques and formulasthat made it big when Krav MagaOriginal.

Among some of the issues like sharingin this DVD, you will find some of theformulas of hardening and strengtheningpracticed at that time, ski l ls andattributes that students maintain itselfYaron, Yaron has justly famous becauseof hard teacher, demanding the physicalform but also in the attitude of the truestudent, all, and we had ample opportunityto prove it, is superbly smooth withexceptional comic timing. His courses andclasses are challenging yes, but we mustrecognize that knows how to motivate andstimulate a very personal sense of humor, inwhich the stiffness of the abdominal end upconfused with laughter, no doubt a result ofhis outstanding characteristic humanity andinner strength.

A new job that we are pleased to presentespecially for lovers of Krav Maga and all thoseinterested in exploring one of the most efficientforms of self defense that man has developed inmodern times.

Alfredo Tucci

48

Kicks

As part of the commemorations for the100th years anniversary of Imi, wepresent to our readers, Krav Maga instructors and students all over the

world, the second article and DVD of the series about the Blue Belt in theKrav Maga . This DVD is dedicated mainly to learning kicks and legs

work which Imi had included in his martial art. I bring here thetechniques exactly as Imi taught them to us - his select group of the

only ten black belt students he awarded. In their book “Genesis,The History of the Krav Maga ”, J. Tuchman and G. Mayersdedicated an entire chapter to the ten chosen disciples of Imi. Itoo wish to dedicate this article to my old colleagues at Imi'sdojo.

The developing of the Krav Maga as a martial art was arelatively long process, since Imi was a perfectionist and henever tried to hide it. In fact, the purpose of his teaching wasto turn us into perfectionists as well, and at least partially hesucceeded to do it. He also wanted every piece of knowledgeor information to be accurate up to the smallest detail. Many

times Imi used a phrase from the world of architecture: “God isin the small details”.As long as he served in the Israeli army, as the chief instructor of

self-defense, he could not invest too much time in the development ofthe Krav Maga as a martial art, and that is for two reasons: first, hesimply did not had the free time to do it and second, being an honest

person he believed it wouldn't be right to receive a salary from thearmy but in the same time to use his work there for his own personalbenefit. He considered it to be a moral and social crime. Imi was themost honest man I have ever known, and to give a personal examplemeant everything for him.

He invested most of his talent in creating his kicking technique andcombining it in the Krav Maga , and that was not an easy task to do.

Especially challenging for him was to decide which kicks should beincluded in the Krav Maga and which should be excluded. He explained to us, hisgroup of ten black belt student (or as Imi affectionately nicknamed us “the Krav

Maga 's Guinea Pigs”), that his method was to first create a few ground rules whichwill determine what does a Krav Maga student needs to know and only afterwards toinclude kicks and punches inside the martial art.

Arte Marcial Israeli

Following this l ine of thinking, heestablished 3 principles that explain why atall do we need kicks in the Krav Maga . Thefirst explanation, which today seems obviousto almost any Krav Maga practitioner, is alsoone of the guiding elements used by Imi tocreate much of the self-defense principles ofthe Krav Maga . It is the superiority of the legover the hand in matters of strength andpower of impact. Imi explained that a strongand accurate punch can knock out andneutralize an opponent for an unknown anduncertain period of time. However, BeitaRegila (a “Regular Kick”) in any place in theopponent's body will immediately send himto the nearest hospital. This, he added, if wewould use “Beita Regila” which is relatively“soft” if compared to other kicks in the KravMaga whose impact will easily leave some ofthe opponent's bones broken beyond repair.

Imi created the Krav Maga always in arising order, meaning, first he taught BeitaRegila (regular kick), which is more easy andsoft, afterwards he developed the serie ofBeitot Hagana (“Defense Kicks”) that aremore lethal than Beita Regila. Later came theserie of Beitot Magal (look at the DVD),whose impact and the damage they leave inthe opponent's body Imi compared to thecutting movement of a Samurai sword:penetrating the opponent's body whilebreaking every possible defense and injuringseveral bones at the point where the foot hitsthe body (using the technique of boll of thefoot). Imi based the technique of BeitotMagal on principles directly related to thephilosophies of the oriental martial arts. Hepossessed this knowledge as a black belt in

Judo and in traditional Jiu-Jitsu whichcontains ancient secrets that existed sincethe creation of the martial arts in the FarEast. So, it was easy for Imi to understandand to include in the Krav Maga half secretattack techniques with unprecedentedstrength. From the very lethal Magal kicks hemoved to a series of kicks unique to the KravMaga , considered the most dangerous kicksthe human body can execute: Beitot Akev(kicks with the heel).

Imi used to apply various metaphors inorder to explain to us his thoughts and ideasbehind the creation of each movement orexercise in the Krav Maga , and some of hismost favorite metaphors came from themilitary jargon. “A soldirer”, he said, “fromthe moment he received the right order, hisobjective is to act with maximum forcer tofulfill it”, but, he always added that “In themilitary the soldiers act without thinking, justfollowing orders. We, in the Krav Maga ,must act according to a very calculated andaccurate thought”. Budhidharma, when hecreated the Kung-Fu, used and imitated thenatural movements of different animals whileexplaining the characteristics of each animaland why he included it in the Kung-Fu. Imi inprinciple did not imitated animals, he did notneed to. He wanted to develop a much morepractical and lethal martial art than just theimitation of a few animals. In the first book ofthe Krav Maga , “A Guide For Self-Defense”,Imi wrote that the Krav Maga is based on ourintelligence. He would have explained thatanimals in general are not intelligent.

Imi chose to imitate weapons. Forexample, when he taught the different

punching techniques he always repeatedand “brain washed” us that our hit must belike that of a mortar shell that explodes whenhitting the ground, “Only like this you willeliminate the opponent with one singleblow”. These metaphors were not saidwithout a reason. As a result of this Imicreated and taught the “Way BackTechnique” and combined with it the “screwtechnique”, which he compared to therounds a bullet makes after it is shot from thebarrel of a gun. This technique had made theKrav Maga punching method a unique one inthe world of martial arts. When Imi reachedthe part of kicks in the Krav Maga , hismetaphors and comparisons became evenmore creative. Our kicks became sopowerful that even Imi was surprised of theirstrength and created the phrase which hasbecome the symbol of the Krav Maga : “Begood enough so you would not need to kill”.This is maybe the best compliment we, hisfirst ten students, ever received from him.

“When doing Beita Beredifa”, Imi Said,“You must imagine to yourselves that you arein fact a charging battle tank (The Book OfKrav Maga - The Bible, page 55), a 60 tonsmonster of steel and rage riding forwardswith an unimaginable force and speed,unstoppable and inescapable ”.

For Beitot Akev (kicks with the heel) Imiused a very popular term in that time. Duringthe Six days War and the Yom-Kipur War,The Middle East saw the first combat use ofdeadly long range ballistic missiles. “BeitotAkev”, he said, “Should be equal to thelanding and impact of such missile,destroying and blowing everything around it

50

Krav Maga

into small pieces”. Dear readers, even if Imi took things a little far,anyone who knows and is familiar with the secrets of the nine AkevKicks of the Krav Maga , would also know that there is noexaggeration here. Akev kicks have fatal strength and impact andonly one purpose: to eliminate any opponent, and every teacher

takes all precautions with his students during the teaching andpracticing of these kicks, so there will be no

“accidents”. Things go even further when we reachthe floating technique of Beitot Benitur

(Flying Kicks), which Imi naturallycompared to a hovering helicopterand even developed specialtraining techniques, but those arealready a part of the Brown and

Black Belt and belong to a differentstory. Most of the kicking techniquesImi included in the Yellow, Orangeand Green Belts. In the Blue Belt,

the subject of this article, Imi gavehis attention to advanced self-defense techniques, the heart of theKrav Maga . He always explained that

for a Krav Maga artist it is notenough only to know how to

kick, but he must alsoknow how to combine

the different bodymovements (the

Hip technique)w h i l e

a p p l y i n gv a r i o u s

a t tacka n d

defense techniques andin the same timecounterattacking usinglong and sophisticatedkicking movements.

More specifically, inorder for us to kick

correctly we need to learnand to comprehend the

biomechanical actions of thehuman body. For example:

to kick as high as we canwithout to loose our bodybalance. As part of this,

Imi included here as well thetechnique of the “Determinationto go Inside” (“Lehikanes”, inHebrew), which is a main elementin the Krav Maga . This means,As Imi explained it, that if we kickand bend our body backwardswe wil l loose our balanceimmediately. This is just oneexample out of many. In the bluebelt Imi also included theoperational use of Beitat MagalLeahor, meaning: while doingevasive movement against theopponent's attack from one side,we turn ourselves against thebody movement and kick with theheel Beitat Magal Leahor from theother direction. This would be a deadly kick.

One of Imi's ten black belt students was Sami, who had especiallystretched and flexible legs and therefore his kicking movement wasalso long and despite his velocity Eli Avikzar always succeeded todefend against his Magal Leahor kick. Eli always made fun of Samiand sometimes even of Imi that this kick wasn't efficient enough.Until one time Imi got angrier than usually from the jocks we made on

the tatame during the endless trainingsand explained to Sami how to fold

his leg in the end of the kick andto use the double kick / kneetechnique. The result was lethaland the laughing and doubtabout the quality of the kick

stopped immediately. This kind ofthings happened all the time, some

sort of a “mutual fertilization” betweenstudent and teacher. The second DVD in this Series

continues to teach and to show the bluebelt techniques of the Krav Maga . We have

included all the explanations, every smallmovement just like Imi taught us. In my opinionthere is no other way to learn an “art”. We mustinvest our heart and soul in it, or don't evenbother to start. An artist is one who dedicateshimself, his life for this noble cause - his art.That is the reason why we admire art andartists. The Krav Maga is a martial art, and assuch it belongs to the arts of the spirit and the

body which come to demonstrate thepractitioner's abilities, just like a ballet dancing. This

is the way we have to teach and to learn Krav Maga , there is noother way.

Imi always wanted that all those who practice Krav Maga will knownot only the secrets of the Krav Maga body movements but will alsobe familiar with Israel itself and its unique daily life of dealing with theconstant threat of war and terrorism since the day it was established.Only in such a country, whose sons are considered the best warriorsof the modern era, the needed philosophy and conception for thecreation of such a unique martial art as the Krav Maga could exist.One who practices Krav Maga should feel and taste Israel personally,and not only by watching television or reading a newspaper.Meaning, to go to Israel, to train there, to breathe its air. This wasImi's dream, that everyone will know his country, and we are onlyfollowing and fulfilling his wishes. The second Zen Father, thesuccessor of Budhidharma, said: “I am nothing more than a pot that

51

contains the way of Zen and that of thefounder”.

Wingate Institute in Israel, the leadingsport university of Israel and the place whereImi began the creation of the Krav Maga ,has accepted the important task oforganizing a special Krav Maga trainingevent which will be open for all Krav Magapractitioners from all organizations. Theevent will take place between days 12th to22nd of May 2011, being that the actualpractice will be six days long, eight hours ofcontinuous trainings per day. Afterwards theparticipants will have the chance to tour fortwo days in Israel and the last day will bededicated for a special shooting training withweapons used by the Israeli army and police.Each participant wil l receive a specialdiploma by the Wingate Institute. For moredetails please contact: [email protected]

The participants will be accommodated inWingate's athletes' hotel, located inside theuniversity campus. The trainings will alsotake place in the Institute's own facilities,equipped with large tatame. Additionally, tocomplete the practical part of the event, theparticipants will also listen to lectures aboutsubjects related to Krav Maga instruction.The lectures will be conducted by seniorprofessors of the University.

Now we reach the second reason why wewould prefer to use the leg (kick) over thehand (punch or blow), that is - the range. Theleg, Imi always explained, is longer than thehand and therefore we can neutralize the

opponent with a kick before he reaches uswith any kind of a punch. This is especiallytrue when the attacker is holding a knife inhis hand, which automatically adds to hisattacking capabil ity. In combat, rangesometimes means the difference betweenwinning and loosing.

The third difference Imi considered to bethe most important one, since it points out,more than everything else, his geniality in thecreation of the Krav Maga as a martial art.We are talking about the difference inquantity and variety of movements between

punches with the hand and the arm (fistpunches, Zirtit, elbow punches etc), 38punches in total, compared to 78 forms andtechniques of kicking we have in the KravMaga . Imi explained that punches weusually do forwards and only in specialsituations we can punch efficiently to thesides. But kicks we have to the head, to thebody, kicks backwards, forwards, to theside, in sitting position or flying kicks andeven when lying down. In short, we can kickin any position and from every possibleangle.

Upon these three principles Imi based theincredible kicking technique and legs work ofthe Krav Maga . Without a doubt it isnecessary to invest not just many hours ofpracticing in order to control the differentkicking techniques, but many years as well.However, when we will know how to kick andwe will be able to look at ourselves and tosee the great body balance we haveacquired and our body control as a whole,that is our advantage as Krav Maga artists.We must admit the truth to ourselves, we allcame to the Krav Maga in order to havemore self-confidence, and self-confidence isthe result of our body capacity to handlevarious dangerous situations. The mostefficient way to achieve this is to know howto kick, how to maintain the opponent awayfrom us.

“Nosotros incluimostodas las

explicaciones, cada pequeñomovimiento,

tal y como Imi nosenseñó.

En mi opinión, no hay otra manera

de aprender un arte”

In this the fourth episode of the “Lameco Eskrima; EssentialKnife” series, Guro Dave Gould takes us through a verythorough presentation of the Hand Sectoring (Bantay-Kamay)sub-system of Lameco Eskrima. It is crucial that whenpresented with a knife attack the ability to isolate and containyour opponents knife hand as soon as possible is of great

importance. This act alone will enhance by agreat margin ones percentage of survival

in confronting a knife attack and willlend itself to other options not

readily available if the knife handis not properly contained. As

well Guro Dave Gould will leadus through essential weaponretention capabilities wherelife and death literally hangin the balance of youkeeping your weapon inhand when forced to fightfor life and limb in thestreets. In addition GuroDave Gould will share withyou the very important non-

cooperation trainingaspects of the system as well

as sharing his thoughts onrealistic ability to disarm a knife

wielding attacker while being heldfully accountable to consequences

found in a realistic environment asgoverned by cause and effect. This DVD is

a must see for any Martial Artist or anyone withan interest in knife combat.

REF.: • GOULD5REF.: • GOULD5




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http://www.youtube.com/watch?v=KhRxOY7ILHs

This new DVD is anything but sport-based ortraditional-based ground fighting training. It is a DVDthat is packed with techniques and training methodsthat will make your current training more reality-based,and reality-based means material that prepares you forwhat you would actually encounter going against a

criminal or terrorist. Ground Attacks ispacked with step-by-step techniques;

the same techniques that I teach topolice officers and military

personnel all over the world. Ifyou have any previous

training in ground fightingthis DVD will turn what youhave and make it morereality-based. If you haveabsolutely no previousground training, then thetechniques and trainingmethods shown will be aneasy-to-learn foundation.

When I say, “easy-to-learn,” I mean just that. I

believe that if you cannotmaster any self-defense move

in five minutes you should throwaway that technique. Real combat

is fast, simple, and brutal.

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