In this DVD, Master Marco Morabito, with exclusive rights for Budo International, presents a preview of the Israeli Krav Maga Survival System. In this colossal work, the basic method and techniques of this discipline are illustrated in a clear and transparent manner. That is, no secrets, but in an extraordinary job that will take you to the very core of self-defense. The techniques are illustrated so that they are easily understood by all. A truly unique opportunity to approach selfdefense or improve your knowledge on the subject. The author is one of today’s top self-defense exponents worldwide and has to his credit an extensive experience both in the military field and in security companies; awarded several times in various countries and acclaimed by his courses and seminars around the world, he has become an international spokesperson for different combat and self-defense systems, little known but highly effective. He has learned and studied all over the world, from Japan to the US, via Poland, Spain, Cape Verde, Germany, Israel, France and Russia, a continued research in remote areas of the world, such as Siberia or the desert of Texas, without stopping at any point in his tireless search for new knowledge without ever stop asking questions. The Israeli Krav Maga Survival System is not a discipline or a set of rigid rules, but a method, a process of continuous and constant evolution. This makes it adaptable to any situation and circumstance and permeable to any changes, and then be able to take stock of its mistakes and use the experience as an opportunity to improve.
REF.: • KMISS-1
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
"To know and knowing how to prove is being twice worth it." Baltasar GraciĂĄn
O
ur mind is an essentially biological artifact, a conglomerate of energy and paths, built not only in the brain but in the whole nervous system. However, this incredible gadget is the most complex and entropic of all those that make up our being. On its own, the mind consumes tons of energy and never stops working. Source of most of our satisfactions and disappointments, the mind is nevertheless a reality that invents the worlds in which we dwell. If reality is in itself a recreation of the signs that give us our senses (what we see is not what things are, but what the light reflected from objects stimulates in our retina and then the brain reconstructs, based on its own criteria; and the same thing happens with the other senses...), the complex process of interpreting it, based on our preconditioning, is a rainbow of possibilities that no "Pantone" can match. Not even our memories really exist, they are just recreations of the brain by electrical impulses; memory itself is a myth. The mind is a selfish "interface", the idea of ??who we are and what is the world is always distorted and manipulated through it; the world resulting from it is a recreation. Yes, my friends, Matrix exists in each of us. The mind is always working on a basic and simple principle: cataloguing it all. Thus, through associative processes, the mind is able to overcome what it hates most: the unknown; it is therefore comprehensible that the primary natural system of the mind, rather than logical, as we modern people like to think, is analogic (from the Greek root ana, "on, over" and logos, "reason"). The association by similar and binary systems seems to be a response quite natural for the mind, which for millions of years has had to solve practical issues at full speed. Like any other device, the mind has many shortcomings and enormous structural failures, but it has been able to bring us this far as a species; we cannot complain! The problem is that the mind can't solve itself. Doing catalogs, as accurate as they may be, doesn't allow us to avoid the gaps in the system. In the similitude of the mind, the Masters of the Age of Enlightenment made encyclopedias, but the accumulation of information doesn't make us wise. One thing knowing things and quite another is to understand them and use them wisely. It is true that instruction is the first step out of lack of knowledge, but ignorance is stubborn and doesn't leave us by simply knowing more catalogs.
"The fool knows more in his own house, than the wise in someone else’s house" Miguel de Cervantes
The classics say that one really knows when he is able to explain what he knows, and that one is wise when forgotten, that knowledge becomes part of himself. Just like the wise, the true knowledge is economic, not entropic; gentle, rather than imposing; friendly and simple, rather than pretentious. So I must say I've met some very smart people, even supremely gifted, but they were far from being wise. Become the knowledge itself makes people serene and friendly, so wisdom is a much more frequent privilege of the elderly. As long as the mind commands the process and the data diarrhea fills everything, wisdom, shy as a sparrow, will flee from you. The wise likes summaries, because he knows that the mind is a tricky labyrinth of which is hard to get out, not even with a map. The more complex is the speech, the easier the deception. That's why poetry is not strange among the wise, since it adds the beauty and the whim of the author to the summary. In the end, creativity is the coup de grace necessary to do our own things, without it there is only repetition, not integration. The mind is a colorful fraud that deceives the deceiver. We see things twisted because the mind is built to survive and make
decisions, not to understand itself. In our eagerness to make catalogs, precious at times, and even accurate, we forget to live. In the feeling hides the treasure that opens the wisdom box, but it's there too where the thunder boxes are hidden; that's why we are afraid to look inside, and as soon as we stop being children, we become serious, sad and dense beings. Thus, in every true sage, like in some in elders, the child comes back to life again; hence there's no such thing like an unhappy sage, because both are antithetical. If knowledge doesn't give that treasure to its owner, is because it has not been properly processed yet, or simply because it is not so.
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Alfredo Tucci is Managing Director to BUDO INTERNATIONAL PUBLISHING CO. e-mail: budo@budointernational.com
3
Martial Cinema
Martial Cinema DRAGON BLADE Jackie Chan keeping the peace on the Silk Road! Text: Emilio Alpanseque Photos: Golden Network Asia, Lionsgate Premiere SYNOPSIS
In western China, 48 BC, a group under the Chinese government called the Silk Road Protection Squad attempts to stop battles and to promote the idea of peace. When corrupt Roman leader T iberius (Adrien Brody) arrives to the area with a giant army to claim the Silk Road, Huo An (Jackie Chan) and his group of trained warriors teams up with an elite legion of defected Roman soldiers led by General Lucius (John Cusack) to maintain the delicate balance of power in the r e g i o n . To p r o t e c t h i s country and his new friends, Huo An gathers the warriors of thirty six ethnic nations, such as Chinese, Uighur, and Turkic, together to fight T iberius in an incredible epic battle.
Martial Cinema ABOUT THE PRODUCTION Loosely inspired by historical events, DRAGON BLADE is another milestone in the career of Jackie Chan who stars, produces and directs the action. He has teamed up with Hollywood leading man John Cusack and Oscar winner Adrien Brody to form an intriguing trio of characters in this action epic. Seven years in the making, DRAGON BLADE was filmed on a record-breaking budget of US$65 million, the tale about the legend of two powerful forces, set during the era of China's Western Han Dynasty and the Roman Empire. The international ensemble of characters creates a global perspective on peacekeeping and righteousness that has not been touched upon in previous Chinese-language films. The cast and crew traveled great distances - over 3200km spanning from the Hengdian World Studios in the east, to the Dunhuang and Aksai regions of western China. 700 crew members of different nationalities worked on set, speaking more than ten languages including Mandarin, Cantonese, English, Korean, French, German and Russian. For the scenes in the western frontier region - a stop of the actual ancient Silk Road - the desert heat, sweltering sun and constant sandstorms were great challenges for the crew. They faced at least three large sandstorms, and many minor ones, during the desert shoot, sometimes with visibility limited to 2 meters. Sudden surge of temperatures came with the sandstorms with the ground temperature sometimes above 50 degrees Celsius. They lost count of the repeated instances of damage to the tents and camera equipment. Furthermore, the cast had to endure the unbearable heat wearing heavy armor,
furs and overcoats with an average shooting day that lasted 14 to 15 hours. Jackie Chan said that conditions were so unbearable to be beyond one's imagination.
ABOUT THE CHARACTERS HUO AN (Jackie Chan) is Commander of the Silk Road Protection Squad, the chief military post within Han Dynasty China, protecting its borders from invaders, and the Silk Road from tribal conflict. He was raised by General Huo Qubing who found him after he was abandoned as a child on the battlefield. LUCIUS (John Cusack) was his generation's finest warrior who had dedicated his life to serving Rome's wealthiest man, Crassus, the Consul of the Roman Empire. After Crassus was murdered, Lucius fled with the man's youngest son, Publius, to protect him from his father's assassin. He forms an unlikely alliance with Huo An. TIBERIUS (Adrien Brody) is the eldest son of Rome's wealthiest man, Crassus. Because his father favors his youngest son, Tiberius poisoned his brother Publius so as to secure his inheritance. When Lucius flees with Publius, Tiberius follows them. Huo An exposes Tiberius' plot and challenges him to a one-on-one duel.
Martial Cinema
Martial Cinema COLD MOON (Lin Peng) is the only daughter of Chief Tache of the Huns nation. She is extremely competitive and excels in archery and martial arts. Having vowed to only marry a man who can best her, she starts to have feelings for Huo An after losing to him. When he's in trouble, she leads her nation to his rescue.
ABOUT THE CAST JACKIE CHAN is a man that needs no introduction in the Martial Cinema. He would often remain on the set after completing his own scenes to teach his co-stars action moves, set up tents or sort recyclables. Otherwise, he would sit away from the crew observing, as if there was a caption above his head reading, “I really love this film set”. As an international star, he has experienced the benefits and disadvantages of different studio systems around the world. Chan says that he is trying to devise his own style of productions. Temperatures were scorching during the filming of the city wall's construction, and Chan's costume was especially heavy. The crew advised him to use a body double for an overhead shot, but he insisted to push the heavy cogwheels together with dozens of extras. Chan has been part of the film's key creative team from concept to the construction of the largescale props. The prop team jokes that “he did most of the work on set”. JOHN CUSACK is a film veteran who has starred in many Hollywood productions, but the action sequences in DRAGON BLADE were completely new to him. Cusack often “challenges” Jackie Chan off-screen, the two men armed with blades would duel during breaks. Chan would give Cusack tips on bladethrowing tricks, such as turning before the throw to create a cooler image. Cusack prepped for his role with muscle training and by
Martial Cinema and perseverance, he was able to give a powerful performance despite being soaked in sweat in the desert heat. ADRIEN BRODY has a dialogue line that encapsulates the eccentricities of his character, “I like people to hate me. Their hatred makes me feel alive.” Brody is an acclaimed American actor who has studied performance since childhood, before entering New York's prestigious American Academy of Dramatic Arts. His role in The Pianist secured him a Best Actor Oscar in 2003, then the youngest winner in the category. Brody has been a fan of Chinese martial arts films since he was young. He recalled his memories of weekly trips to watch Kung Fu films in New York's Chinatown with his father. The crew assigned him an Englishspeaking member of the JC Stunt Team as his assistant Alfred Hsing, from whom Brody learned martial arts moves. Brody and Chan may be enemies onscreen but became friends off-screen. LIN PENG began her career by appearing in a Jackie Chan film Little Big Soldier (2010). Movie that was awarded with the People's Choice “Palmera de Oro” at the Mostra de Valencia Film Festival in 2010, and Lin was there to receive the price with other Jackie Chan crew members; as well as present at the BUDO International Hall of Fame awards of the same year. The film DRAGON BLADE was a different experience for Lin playing the feisty Huns warrior Cold Moon. For her, the most challenging part was the action sequences and also expressing her character's courage through her gaze and body language. “She can really kick-ass; she's a very strong character. Her gaze should be direct, without hesitation. She must be quick-witted and aggressive… her personality is really nothing like mine.”
ABOUT THE ACTION SCENES
practicing martial arts with his personal trainer, the legendary Benny “The Jet” Urquidez. In this movie, Cusack had to perform a complicated fight sequence, battling several men from the opposing Roman camp. Cusack repeated the scene from morning until night. With stamina
The JC Stunt Team handled the action sequences that are at the center of the film. A few of the stunt team's members are also in the cast, including Steve Yoo who stars as Huo An's right-hand-man Cougar. Two teams were filming simultaneously, with the second team's action scenes directed by action choreographer He Jun. Since most of the main cast members did not have an action background, the team trained the actors and designed the sequences around them. Chan said, “I prefer to do solid fighting sequences rather than wire-work. There is too much wire-work these days.” There were many scenes involving military formations and battles involving a large number of people over a
Martial Cinema
vast area of land. While the Chinese armies make use of the “Dao” (saber), the “Jian” (straight sword), as well as archery and crossbows; there are some attempts to show off Roman stylized tactics like the “Testudo” (tortoise) formation with the shields, the use of the “Pila” (spear), and the “Gladius” (sword). There are exciting one-on-one duels, and a particular scene where the Romans and Chinese display their martial prowess, designed by Chan himself, is especially engaging and well-choreographed. He even manages to make his co-stars Cusack and
Brody look very convincing through all the actions sequences. Actress Lin Peng received the most injuries among the cast, including the most serious ones. Her character uses two weapons, the whip and the bow. Her fingers were constantly swollen from drawing the bow every day; the skin even peeled off her index finger. She fell from two meters onto gravel when her wires broke, landed hard on the left side of her body; fortunately her head was protected by Chan. Lin trained with the JC Stunt Team for several months
before the start of the shoot, practicing how to crack the whip. She didn't want to hurt Chan in two scenes involving the whip, but was also concerned that the lashes didn't pack enough punch to be convincing on camera.
OUR COMMENTARY DRAGON BLADE is a fantastic achievement in the current world cinema. We never expected to see this kind of Roman epic movie be made in Asia, but Chan has demonstrated that it is possible. Were there Roman soldiers in the East? Most historians believe that the two empires had only indirect contact, but there are several known instances of Roman embassies sent to China recorded by a number of ancient historians from both sides. Those
interested may enquire about the “Lost Legion of Crassus� were 10,000 Roman were allegedly displaced by the Parthians to man the Eastern Frontier. Consequentially, tests found that the DNA of some villagers on the fringes of the Gobi Desert is around 55% Caucasian, with many of them with blue or green eyes, long noses and even fair hair, prompting speculation that they have Roman blood. But don't expect a history lesson in this movie, just let the heartwarming story of loyalty, sacrifice, rising against all odds, together with the pulse pounding battle scenes amuse you. Ideally positioned to capitalize on the accelerating convergence between the Hollywood and Chinese entertainment industries and with more than 100 films under his belt, Chan is still remarkably dynamic and it is clear that he isn't slowing down anytime soon.
FIRST WORLD MEETING OF BUDO MASTERS Dear BUDO lovers, this event will be a unique opportunity to meet in person masters around the world and to enrich the culture and brotherhood among arts, styles and persons; a great celebration of innovative format, where to share through seminars the endless techniques of Martial Arts, and where you will be able to exchange views and meet those persons who write and have become famous in the pages of our magazine. Currently published in 7 languages (Spanish, English, Italian, Portuguese, German, French and Chinese) and soon available in more (confirmed the Turkish edition in November), our magazine will support with all its media potential, networks and contacts this excellent initiative of the respected Master Sifu Paolo Cangelosi. Students joining a specific group should contact their Master for reservations. Those of you who simply want to be part of the event, whether in the seminars or at the gala
dinner, can make your registration directly. Everyone is welcome under the banner of respect, martial brotherhood and cooperation.
The event will be held in two days: SATURDAY 16 AND SUNDAY 17 APRIL 2016 IN ROME-ITALY The program will be divided into seminars and a Gala evening.
Details: SEMINARS: every master is entitled to a few minutes to share his own techniques; the available time may vary depending on the number of participating masters.
SCHEDULE OF SEMINARS: SATURDAY APRIL: 16, 10.30 - 13.30 hrs. SUNDAY APRIL; 17, 10.30 - 13.30 hrs. COST OF SEMINARS FOR STUDENTS: 1 dAY â‚Ź30 E 2 days 40 E Masters to join the initiative of our event should confirm their participation stating whether they come alone or with their students before the end of November; in a second step, before February 28, they should send a list of their students with name, with a deposit of 20 euros per student. The final settlement of the seminar shall be directly made on the day of the stage.
SATURDAY NIGHT GALA April 16 at 20.30 Aperitif and buffet dinner. During the Gala certificates of participation will be awarded to all students. Masters will be awarded the Certificate of "Budo Masters Council Director", globally recognized and endorsed by the signature of the most famous masters of the world. Students in turn will receive a certificate of attendance asserting their participation in the meeting and signed by all of us. A Photocall will be available at all times in the same place of the Gala, where photographs will be taken with all board members, friends, students, etc. Photographic evidence will be published in the Budo International magazine, at that time already translated into 10 languages, in an extraordinary article that will largely describe the whole event and its participants, highlighting the presence of each Master.
As Masters confirm their attendance at the Gala, they will be also included in the advertising pages of the event, both in the magazine and across our network. Some examples of this advertising are inserted at the end of this document, showing some of the masters from all over the world, whose assistance has already been confirmed. PRICE FOR THE GALA NIGHT: 80 E Since the objective of the meeting is not monetary, but that of cultivating friendship and cooperation, we have established a very affordable price. For the GALA night reservations, each master must send a list with the full name and a fee of € 80 per guest before February 28, 2016. Participants going on their own can register directly. Considering the great participation demand worldwide, please do not delay sending your list, because reserves are limited.
FOR BOOKING PAYMENTS: Banco Popolare GENOA AG.3 IBAN: IT90 X050 3401 4030 0000 0000 824 SWIFT: BAPPIT21Q60 PLEASE SEND YOUR RESERVE LISTS OF THE SEMINARS AND THE GALA EVENING TO: budo.masters1@gmail.com
SEMINARS AND THE GALA EVENING WILL BE HELD AT: CENTRO SPORTIVO FONTE MERAVIGLIOSA VIA ROBERTO FERRUZZI 110/112 (ZONA EUR) ROMA – ITALY (AMPIO PARCHEGGIO GRATUITO)
HOTEL For overnight stay in Rome, we will be reunited with convention, at: HOTEL SHANGRI LA CORSETTI VIALE ALGERIA 141 00144 ROMA (ZONA EUR) ITALY TEL. +39 06 5916441 FAX. +39 06 5413813 email: info@shangrilacorsetti.it ACCOMODATION PRICE: SINGLE ROOM â‚Ź 60 DOUBLE ROOM â‚Ź 85 BREAKFAST INCLUDED To book in, please contact the hotel, identifying yourself as a participant in the convention by using the password: BUDO MASTERS. We have reserved a limited number of rooms. It is advisable booking before March 15, 2016 (we would like to
note that, for those arriving late might not be easy to find accommodation in Rome, since the Jubilee is being celebrated on those dates). For those staying at the Hotel Corsetti, we have made available a Pullman bus that will take our "Budo Masters" group to the place of the seminars and Gala Evening. Our director Alfredo Tucci has kindly placed himself at the service of the organization through his personal mail, budo@budointernational.com, for all non-Italian friends who might have questions about the event, and he didn't want to pass up the chance to leave you a few words: "Dear Budo Brother, it is my pleasure to support the great idea of the Master Cangelosi. Many of you know the participants of this meeting through our pages and are aware about their extraordinary work as trainers and Masters. Now you have the chance of meeting them in person as part of a unique event of its kind, take some pictures with them and access the opportunity to learn from the best, bringing with you home
a great experience as martial artists and as individuals, together with a certificate signed by all of them, that certainly will deck out your personal history as budokas. My grandmother used to say that "ever ything is transmitted, less beauty"... Then come and make up part of the greatness!" Alfredo Tucci Chairman of Budo International Publishing Co. Samples of the certificates to be delivered and on which we keep working. Of course, names will be added as participants confirm their presence. The first one is the students' certification and the second is that of the Masters.
Avi Nardia
Tokku in Japanese: True-Jutsu Text & Photos: Avi Nardia w/Tim Boehlert
Tokku in Japanese Budo means to win with honor and integrity. A win is only for yourself as no one else can see it, but you will always know that you can hide the truth. Even in Zen it's said that you can't hide 3 things: the moon, the sun and the truth. The truth is that humans always hide the truth. All leaders do it daily, friends do it, even parents do it with their kids. The truth will pop out, but it may be well after the win. With some Olympians we see sports players lie, cheat, and fake to show a win, but truth will find a way out and show as does noon and the sun.
T
here are two Japanese words that describe this: 'Tatemae': the mask that we present - the fake us and 'Honne': the truth - us as we really are. We can hide the truth to win, but we can't win 'Tokku', meaning the respect of ourselves as we know that we lied and just hid the truth to win, and so you will die as a loser.
Avi Nardia
For Samurai whom carry the honor code, what's the use of it if you disrespect yourself and die as a loser with a fake trophy? This is where true-jutsu plays a role in the 'go' or code. In Samurai movies we see how he died by the sword of another samurai, and thanks him for an honorable death and in Tokku death carries his integrity to the grave. It's better to win with honor than to win, but lose Tokku. This is hard for westerners to understand as a win in life for us means to do anything to win, but the samurai way is the art of death. He needs to be ready each day to die, and to die with no respect and honor is the most shameful loss in life. He would ask to die in honor by seppuku, by blade, and earn Tokku honor death. This is why the code forces the budoka to live by the honor code and Tokku, true-jutsu integrity as one of it's principles. In kapap we teach to keep the Budo Code. The western lifestyle is to break any of them and lie and live by that lie, where that win means money, and where more money is better than even the price of friendship. Cheating and loss of the Tokku, the truth that you know inside means a loss of your integrity. This is why I teach that principles in life are more important than any techniques. Keeping a clean hearth is hard to teach and that's why we teach principles first and foremost over techniques. "There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. There are not more than five primary colors (blue,yellow,red,white and black) yet in combination the produce more hues than can ever be seen. There are not more than five cardinal tastes (sour, acrid, salt, sweet and bitter), yet combinations of them yield more flavours than can ever be tasted." Sun Tzu The Art of War
There are not more than five principles in modern Kapap (push and pull, balance displacement, high and low, relative position, two points of contact) yet combinations of them produce more techinques than can ever been seen! One is the most common principle in all martial arts, it's done by humans but to be called human we need to first keep the Code. To teach only techniques and to build the body strong but neglect a weak mind and spirit will never win you Tokku.
The Mind controls the Hand. The Heart controls the Mind. The Soul controls the the Heart and only then will you live by BUSHIDO. In swordsmanship - and most by Kendo as my good friend note (Moses Becerra ) - the Bushido way - defeating your opponent should not be obtained by ruthlessly over powering your opponent or by actions of trickery or anger towards them. Winning using these things will only create feelings of anger, revenge and unhappiness, however winning by true virtue (Toku) is truly winning. Your
opponent will thank you when being defeated by you in this fashion and in the end, you will gain the respect from your opponent for these qualities you uphold d≠uring your exchange. “The sword and the mind (soul) are one. If the mind is right, the sword is right. If the mind is not right, the sword also cannot be right. The person who wishes to study the sword must first study their mind”. - Shimada Toranosuke
WT Universe
The WTU (Wing Tsun Universe) is an organization for the harmonious development of the human potential. For this work we use: Moving Center: WTU Wing Tsun (inclusive WTU WTU Guild and Health) Thinking center: Thinking Center Courses Wing Tsun University Feeling center: AMA (Arts and Martial Arts) Mottos of the WTU -The Mottos are about something like instructions for the use of the tools. -For this reason we have the mottos for each Solo Movement etc. -Solo Movements (forms) are something like formulas, from which we derive using the motto for us.
In this short column we treat 3 mottos from the WTU: We move people! We move people. This means, among other things, we bring ingrained patterns in action, moving, thinking and feeling back into motion. We help to break conditionings. Most people want to change, improve, be free, but they use the patterns that they have always used and this is not working. The right people at the right time at the right place To generate effectiveness it requires these 3 basic means. It could also be called timing. It is this motto distinguishes the normal collective groups of effective communities. And not in their impact, but in terms of the effectiveness of the development of their members. Necessity creates organs It takes a critical mass "food" so that a development, deployment, learning takes place. Only when I increase the need, I start to develop the structure, which then opens up to me their function. And this function then opens me the inherent potentials. Salve!
WT Universe
“The right people at the right time at the right place� To generate effectiveness it requires these 3 basic means. It could also be called timing. It is this motto distinguishes the normal collective groups of effective communities. And not in their impact, but in terms of the effectiveness of the development of their members.
Brainwave Study Prior Kyusho Internationals founding, we had tirelessly dedicated ourselves to proving that Kyusho was not only real, but affected the body as professed through modern medical and technological science. We also sought the inner effects of a Kyusho event as to the exact influence and reflex created at the time if the event. Initially this study was for martial application, but quickly encompassed healing, fitness and intimacy aspects as well. In 2000 Dr. Diane Stoler had approached Kyusho International founder Evan Pantazi, with the offer to measure brainwaves during Kyusho applications. Of particular interest was the controversial knockout potential with its correlations and effects on the human body. Several of these tests were enacted in various settings with one inducer and varying recipients to maintain more of a constant stimulus on the different recipients. This process recorded in live time, revealed only the function of the brain as well as the effect of induced stimulus on it. With the equipment and technology of the time, only the brainwaves activity levels, (Alpha, Beta, Theta, Gamma and Delta), could be measured and recorded. What was observed during the testings' was Replication or mirroring of the inducer and recipients brainwaves during the event (KO). This mirroring was observed during all tests with all participants. Some of the findings were expected such as spikes or declines in brainwave function during an event, but others were quite surprising. And many questions and correlations discovered. From the information and methods of Kyusho (some learned and some tested), Dr. Stoler had gone on to implement several into her highly acclaimed practice; helping those afflicted with Traumatic Brain Injury, Post Traumatic Stress Syndrome (PSTD) and Concussion. With the major advancements in technology, methods and understanding, the continued studies have again revealed many startling and profound new findings, insights and yes even more questions. So we approached it again with more advanced equipment and more Doctors and Scientists present. This time with the assistance of Brainmaster Technologies inc., creators of the Brain
Av at ar 3D Nuero feedback mapping s o ft ware. In conjunction with Dr. Diane Stoler author of "Dealing with Traumatic Brain Injuries " and "P o s t Co ncus s io n Disorders", Kyusho International investigated the inner connection of the brain as affected by the application of Kyusho techniques. The equipment now not only measured the brainwaves, but did so in 3D. The intensities were observed and recorded as they occurred so that not only what was being affected was recorded, but also where, to what levels and in what patterns. This was quite a quantum leap from prior sessions and data collection. Additional direct observation of the individual brain transmissions could be seen and recorded as they occurred. What was being triggered, what it in turn triggered, the resulting patterns, speed, directions and intensities were all now observable. As example when an event occurred, the effects on the brain, intensity, successive affect, triggering and patterns were observed as was the outer manifestations on the recipient and or inducer. Some of this testing included striking, manipulations, sound and even energetic applications to record in live time 3 Dimensional mapping of the neurological triggering of both inducer and recipient for comprehensive measurement. Both Kyusho practitioners involved had decades of experience to reduce error and increase diversity as well as accuracy in the tested applications. Evan Pantazi (founder of Kyusho International) and Gary Rooks (Chief Research Officer of Kyusho International), were both applicators and recipients for this new testing. Also non practicing volunteers were added to the process after initial testing was concluded. In addition to applied stimulus, the revival, restoration and re-balancing of the recipients (and inducers), were simultaneously observed and recorded during each event. This was to gain greater insight, diversity and correlations of Kyusho on the human. Although too early in the assessment process to confirm or deny results, a few observations were made. 1. First is that it is not hypnosis. 2. Yes it is possible to stop an organ. 3. Sound does affect the event. 4. Prior brainwave findings were validated.
Some of the Kyusho Knockouts we preformed displayed a couple of things about the techniques in this, some cause a rapid drop in blood pressure (as was expected and now verified), recipients stopped breathing stop and during a couple the heart was even stopped... yep the Doctor said! This is a major difference in the myriad of people teaching Kyusho, most Kyusho is superficial, we like to make it more advanced so that we know we can stop certain things physiological functions, organs etc., just as they depicted in the old writings and scrolls. And we do not just talk about it being possible, we duplicate it... that's experience, not theory‌ and our personal mission. Of course it must be mentioned that all survived as we do not recklessly work this way, we understand the ramifications, what will be affected, how to restore what has been done and the control to not escalate each incident past that point of no return. This is only a small portion of what was observed and again none thoroughly assessed yet. It of course will take time and additional testing to ascertain more, (which has already been
discussed will be scheduled), before a more official release of the findings are released. What is apparent though is that science can observe the phenomenon and events, measure and map these events and therefore remove the myth and doubt that it exists. This is paramount as it brings us closer to making the statements in ancient documents not only plausible, but real. Of course this is also not our only methodology for verifying the realities of Kyusho; we have several medical and scientific studies and research simultaneously and continuously occurring. We also have many Law Enforcement, Military, Security and Civilian (individuals, agents and agencies), worldwide, working Kyusho with great success. Some are as simple as control methods and others more urgent in a survival type situations, this is field testing on an international basis with thousands of participants. The days of disbelief for Kyusho are finished, now the curious need only find the instructors teaching the real Kyusho, not the Dojo tricks of it. Keep watching Budo as we report back with you on future tests and findings... we are moving toward the future with Kyusho, not just resting on the past. Stick with us; we are on a ride of a lifetime as we uncover the real secrets!
Every martial artist should participate in a competition
Text: Andreas Hoffmann, Christoph Fuß Photos: Andreas Hoffmann, Budo International
I hold the opinion that ever y mar tial artist worth his salt should participate in a competition, since this is the only way how certain important experiences as martial artist can be obtained. An inspiration to all of us, the famous Bruce Lee once said: “If you want to learn to swim, jump into the water. On dry land no frame of mind is ever going to help you.”
Our martial arts schools are for the most part visited by decent people who never in their lives found themselves in any combat. How are we supposed to give them a comprehensive understanding of martial arts then, without them having experienced any combat or contest situation? This applies all the more if the teacher himself never has gathered any such experience. Time and again, “Swimming” is taught that way, without he student ever actually being exposed to any water. It remains reduced to dry practice, little beyond mere theory, while it often goes unnoticed that true martial arts should train the practitioner in very diversified areas. As a matter of course, everybody appreciates that as
a martial artist I have to learn the tools of fighting, such as kicking, punching, jointlocking and throwing, and likewise their application within all combat distances, while standing as well as on the floor. Just as comprehensible is the necessity to develop proper timing and an intuition for safely controlling a resisting opponent, who after all uses similar techniques. Participation in a contest as well as thorough preparation for actual selfdefense however requires a lot more: During preparation, the contestant for a start has to decide for a certain type of competition. He has to remain disciplined and train vigorously for months to ensure that he will deliver his individual peak performance on that very day. He has to deal with his nutrition, might have to change weight, and generally needs to eat a healthier diet in order to train harder. To compensate for such harsh training, though, proper recovery is indispensable. Hence it is necessary for him to develop strategies for de-stressing himself, also including compensative practices in the form of stretching, strength-, endurance- and breathing exercises. For good reason, these always
have played a significant role within the traditional, established martial arts. On a psychological level, the competitor has to develop strategies to cope with his excitement and to motivate himself, for example by having inspiring people around him, by reading inspiring books, listening to inspiring music etc. It is a very important process highly beneficial beyond preparing himself for a contest to find out what inspires him and keeps him motivated. This insight will be a tremendous aid in times when he might struggle with injuries or (self-) doubt, offering him a possibility to consciously decide to follow his inspiration every day anew. In Kung Fu, this is compared to a lotus blossom heading upwards to the light, growing out of the very mire that constitutes the base for its growth. Likewise, the contestant has to learn to accept and transform his weaknesses, utilizing them for his own evolution. Consequently, the competitioner and his teacher have to find out about strengths and weaknesses. Furthermore, they have to adapt their martial art to the specific ruleset, in a similar fashion as any real combat situation – as well as the proportionality principle in self-defense –
requires adequate adaption to prevailing circumstances. Common training provides very limited possibilities for acquiring this ability to adapt to specific rulesets and circumstances while at the same time utilizing the reflexes acquired through martial arts training in the best possible way. On the day of competition it will become apparent whether he has learned to deal with stress. Moreover, the frame of mind of the participants will also be unveiled to a smaller or greater extent. It is not seldomly seen at tournaments how contestants and teachers alike are unable to control themselves, shouting at referees or speaking disparagingly about their opponents. However, this is exactly what competition is all about: To behave respectfully, bravely and even helpful in spite of stress and excitement. Exactly that is the essence of the path we want to follow as martial artists regardless of style, whether we call it Wu Te, Mo Duk, or Bushido. In such circumstances, the contestant s actual fighting capabilities also become quickly evident. Most of the participants in a contest are well-trained and talented, and it does require a very substantial level
Kung Fu of skill to emerge victorious. In view of such extreme conditions, will he really be able to withstand and control an opponent who is actually putting up a fight, and to ultimately defeat him in a likewise controlled manner, according to the rules? A contest will reveal whether his martial art actually prepared him properly for fighting, or if it is all merely pie in the sky. Many a fighter rather wants to avoid that test, for example by purporting to be able to fight in rule-less fights only, since he would usually rely on the very techniques which usually are forbidden in tournaments, such as poking the eyes or pulling the hair. Especially in Kung Fu, but also in self defense-styles, there are quite a lot of such “dreamers� who firmly believe that their particular style is the best or most effective, without ever having proved that statement in a contest situation. Beginning martial artist might be easily convinced of this, but reality often proves them wrong. Only on the tournament mat or in real combat it becomes clear who is able to stand his ground psychically to begin with, and, furthermore, who has acquired the necessary physical skills. Even two minutes of contest or actual self defense require enormous condition and stamina. I have seen many beginners in tournaments who did not even make a single round, because they lacked condition, were far too tense, or psychically all over the place.
Kung Fu
Kung Fu Another important experience is that of winning, and also that of losing. Nobody who participates in tournaments can always win. He will also lose at some stage, unless he only faces weak opponents. It is beneficial to analyze exactly why he won or lost, enabling him to improve himself selectively and to adapt his training accordingly. The experience of winning and losing helps the competitor to remain humble and open-minded, to learn something new every time, and on the other hand to remain self-confident by realizing the own skills – and that all of the others have to deal with the same problems as well. In Hong Kong it also was common practice to organize tournaments or backyard contests for the students, so called rooftop fights. I had to contest around ten such rooftop fights for the Weng Chun- family in Hong Kong, and to me as a young man it was a great honor that my masters chose me to represent Weng Chun. All contests followed the same course of action: We met in a Kung Fu- school or indeed in a backyard or on a rooftop, and for a start arranged the rules. Usually there also was a physician around. Then the fight started and lasted until one of the contesters surrendered, or until they were separated by the masters. Afterwards we usually went out for dinner and discussed the experiences. There also existed a codex not to speak about the outcome of the fights, and not to abuse them for advertising. That way, I got to know many styles, by fighting against strong respective opponents. The last Chinese Grandmaster Wai Yan also arranged many matches in his Kung Fuacademy Dai Duk Lan.
All types of competition are beneficial: In our schools, we offer traditional Chinese Weng Chun Kung Fu, Tai Chi Chuan, Bagua and Brazilian Jiu Jitsu. There are different types of contests to support everybody in developing their martial arts and internalize the way of life of a martial artist. Regarding Kung Fu, we cooperate with the Traditioneller Kung Fu Verband Deutschland e.V. („Traditional Kung Fu Federation Germany“), and regarding Brazilian Jiu Jitsu, mainly with the IBJJF, since those two federations in our opinion offer the most organized events with the best rulesets and the best qualified referees. For Kung Fu, one can participate in full- and semicontact competitions, push hands, chisao and forms. For Brazilian Jiu Jitsu, one can compete with or without GI-suit. The premium class for all contact sports is freefight, forcing us to cover all aspects of martial arts: Kicking, punching, throwing, joint locking, choking, ground fighting. This entails that the Kung Fu- fighter has to learn ground fighting, and the ground fighter has to learn to also deal with punching and kicking. Within the Inter national Weng Chun Association, we encourage our students to participate in competitions and support them therein. For this reason we were able to achieve many successes at national and even international levels.
We analyze the twenty golden rules of the founder of Karate-Do
Gichin Funakoshi was not only the founder of Karate-Do, the one who systemized it, but he also knew how to imbue this Art with his own sense of life. The techniques and rudiments of Karate-Do already existed, as is known, when Funakoshi organized it into a coherent whole; it was the vision and the personal commitment of his character that managed to give strength and a global meaning to a style that has consecrated itself as one of the Martial Arts references across the planet. For this reason, getting to know the conceptualization of Funakoshi’s Karate is not an effort in vain. Surely, these days Karate students know little about the original formulas of their Art; perhaps the notion of this article to resuscitate the primordial dictates of the Master even strike some as anachronistic, but those who don’t know their past can only poorly confront the future.
We analyze the twenty golden rules of the founder of Karate-Do
Funakoshi was a man with a very special personality. To get to know Funakoshi as an individual, his personality, there’s nothing better than to read his autobiography: “Karate-Do My Way”, fortunately translated into almost every language. In it we find a simple man, not an intellectual. A man with a straight and defined moral doctrine with some principles that define a strong dorsal fin from which arises a strong character loyal to his convictions. Undoubtedly, it couldn’t have been easy to deal with him in life; however, he was one of those magnetic personalities, a born leader, who knew how to transmit his message to those around him by making a strong impression. And though the Art that he defined in its forms and principles is not much like what today we know as Karate, it is no less sure that its evolution would have been impossible without a strong and firm starting point such as that which the master was able to imprint on the way of the empty hand. For this, it is essential to understand one of the main legacies compiled in his Dojo Kun; twenty principles that define the formal formulation and attitude that must preside over the practice of the Art in order for the student to reach excellence. In the old days, these principles were recited out loud before each class, a lost practice even in the most traditional dojos. Recited like a litany, the students knew them by heart and even without understanding them; in their practice, their meanings and reasons for existing were integrated little by little. The article that we publish today tries to go into the meaning and hidden reasons behind these twenty points in order to facilitate to the youngest ones a deeper, mor e complete understanding of the essential origins of their Martial Art and to remember the best, as much in age as in experience, the origin, the fundamentals of our Martial tradition. Funakoshi, a man of few words and of less explanations, maintained that that which you learn with your body you never forget, while that which you learn with your head is easy to forget. This is absolutely true, but undoubtedly the Master couldn’t have imagined that in the years to come the head would wind up serving in too many cases for little more than to put a hat on. For this, without refuting the founder, we understand that it is essential to delve into the essences of Karate, analyzing one by one the points and their meanings, an inheritance full of value, now and always, one more gift from the founder to whom we Karatecas always owe respect and gratitude.
We analyze the twenty golden rules of the founder of Karate-Do
1. Karate-Do begins and ends with the greeting Gentleness and respect are also demonstrated and acquired with their practice. To greet is to remind our body that it must obey some criteria in which respect must subjugate other impulses that are undoubtedly
activated in the practice (aggression, fear, etc.). To restrain them is one of the tasks of the Martial Art. But beyond the courtesy, the Eastern greeting of dropping the head has a symbolic meaning and even an energetic one that is not very widespread, or what is the same, very much forgotten. At nodding the head, as
Karate-Do much in Seiza position as when standing, we unify the principles of Heaven and Earth, the principles and their energies that penetrate our body through the spine (crown of the head and genitals) like two strong serpents. When in Seiza, the hands must be united at the same time (not one first and the other after) leaving a triangle formed between the thumbs and index of the hands between those that must be placed in front. Courtesy means restraint in order to re-direct instinct; its repetition is always educative and helps organize the hierarchies. The greeting to the master has this sense. The salute with your adversary re-forms the formal space of the combat providing this with limits, reminding us that the enemy is within, not outside. The other is only a
mirror, an opportunity to realize this, something in which our limitations will be seen to be reflected; he is not the one guilty of them.
2. You will not use Karate-Do without motive Sun Tzu begins his book on war advising us, “War is a matter of vital importance, the territory of life and death mustn’t be confronted lightly.� Validating aggression is a philosophically complex matter. For Funakoshi, aggression is only explained as an act of defense. Unwarranted violence was continuously criticized by the Master, even opposed to the practice of Ju Kumite (free
We analyze the twenty golden rules of the founder of Karate-Do
fighting), which his son defended. Even further, Karate is training of the personality, of the spirit of the student, who trains his character and his body to reach a state of alertness and excellence, not to boast about his skills or to demonstrate anything to himself or others.
3. Practice Karate-do with a sense of justice Reinforcing the previous point, the Master further adds that the practice of Karate and its use must only serve for just causes, with impeccable attitudes. At the same time, on this point Funakoshi advises us about those who try to use Karate and its knowledge to serve ignoble causes. For the teachers, the selection of students and their intentions in learning the Art were one of the principle concerns and if today the powerful gentleman who is Mr. Money has lowered the standards in a way that only limits entrance to those who pay, it is good to remember that we have an acquired responsibility in the exercise of teaching the Art.
4. Before knowing others, we must know ourselves Just as the text that is inscribed on the portal at the Oracle of Delphi pronounces, “Know thyself”, Funakoshi establishes here one of the essential principles of the Way of the Warrior. “Nothing does anything to anyone!” Instead of hiding behind the continuous blaming of others for the negative circumstances in our lives, Funakoshi impels us to look inward, firstly, and in this way assume responsibility for our acts. Instead of losing time trying to escape our miseries by pointing to those separate from us, the master demands rigor in our judgements. First look at yourself, after, at yourself and after that at yourself again, and after having looked once more at yourself, consider others.
5. From the technique intuition is born This is a principle that is frequently misinterpreted in the West. Many understood that it is the technique in and of itself that is important; however, we must begin with the knowledge that for the Oriental, the value of things is in its form. The cup exists and has usefulness to the extent that it possesses an empty space. The wheel turns and keeps its structure because it has space between the spokes. The technique is then “the form” that directs us to the natural movement, not a tightened girdle that strangles our fluidity; however, to reach said ability, it is necessary
to train the technique so that in the end our knowledge is bonded with “the natural”. In this way, Funakoshi reminds us that the practice of a correct technical form will connect us with our essential knowledge, with our intuition, help us flow naturally with the infinite circumstances.
6. Don’t let the spirit meander Concentration is, in all Oriental practice, an inescapable principle. When the hard training puts enough pressure on the mind, it tends to meander, to detach itself in order to interrupt the effort. Funakoshi was a man of customs and of solid and ordered principles, one who knew that everything begins in Yin. To stay in the here and now is essential for the practice of Karate as a way of consciousness. The routine and the repetitions of training are a tough test for concentration. The student must avoid mental dispersion and the mechanization of the movement. Only being present within it will the techniques possess the adequate force and intensity; only by being concentrated
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on its application can we recharge our systems of force to finish the training session stronger than when we started.
7. Failure is born from negligence For the Master, there are no coincidences, there are no “Buts…”, nor “It’s just that…” With this point the Master reinforces the previous one, attention and commitment are essential in the practice. To not adequately attend to the parts that make up the whole, to do it deficiently, without due attention, or without the necessary effort, leads to failure. Failure is not a disgrace that arbitrarily falls from the sky, rather it is always the result of a lack of attention, not being careful, abandonment, laxity, apathy, or slovenliness. Funakoshi reminds us that we are responsible for our acts and of their results, in this way opening the door to the possibility of improvement and growth. Evolution exists through precise and continuous error, for that the warrior gets up every time he falls with the certainty that if he corrects his error he will be able to reach his objective.
8. Karate-do is only practiced in the Dojo The “Do Jo” is literally “the place of awakening”. Karate do is not a practice to hit in the street, its objective is not to make others submit rather to reshape oneself, to wake up to a reality where the symbolic and the real become one thing. Furthermore, with this principle the Master reminds all of us once more that we mustn’t use our knowledge inadequately, limiting our practice to the sacred space of the Do Jo.
9. The practice of Karate-do is for life As a spiritual practice, Karate-do is an Art that forms a part of the nature of the students forever. Apart from reciting this phrase, the students renewed their commitment to the Art daily, giving it the adequate space in their beings. As a practice of long and slow results, Karate requires a lasting commitment in order to reach its objectives and open the veil that hides its treasures, and this is why the Master repeats this principle of a commitment for life.
We analyze the twenty golden rules of the founder of Karate-Do
10. Deal with problems in the spirit of Karate-do
that he reminds us: Be careful! Not that way! So, don’t throw more wood on the fire!
Once again, we understand through another principle that Karate Do as an Art transcends the sphere of the merely physical or sportive. Karate is a way of living, a way to confront things. When Funakoshi tells us to deal with problems with the spirit of Karate Do, he reminds us that we are warriors twenty-four hours a day, not only the time we are on the tatami. In this way, Karate Do is interwoven with all the everyday events in the existence of the neophyte in such a way that the virtues that adorn it must be activated in the face of adversity with selfcontrol, responsibility, will power, respect and commitment.
13. Adapt the attitude of the opponent One must avoid pre-conceived formulas in life. Be flexible, adapt oneself to the forever changing circumstance; the Master reminds us that we must adapt to them. The practice of the Art is not an application of formulations but the securing of the necessary resources in order to constantly flow beyond our limitations. “Every bull has its fight!” states the bullfighting saying, and for that, those who try to always use the same technique facing distinct opponents will be defeated.
11. Karate-do is like boiling water
14. The secret of combat resides in the art of knowing how to direct it
Water is a re-occurring and essential motif in the Japanese tradition. There are two hundred different terms to say water depending on the state and circumstances that surround it. Water is the beginning of life and the essence of its nature, it goes downward, flows, surrounds, doesn’t oppose. When Funakoshi cites water en its boiling state, he is speaking about its wooden state in so far as this makes reference to the five elements, called Go Kyo in Japan. Wood is characterized by being the force of will and boiling water converts itself into the opposite realization of its nature. Activated in this way, it rises instead of going down in the process of evaporation. This activation of the nature of water is the fire of consciousness that arises from the effort of the neophyte. For that, the practitioner must be capable of remaining in a fluid but active state, always ready to respond to an attack.
Combat, as Sun Tzu says, is a whole where apparent disorder reins; however, the expert understands the hidden secrets that are ordering it. Directing is possible in the middle of apparent chaos always when we understand not only that an order exists, but that it can be directed from the center. Understanding that it is the center of the spiral which directs its periphery, as much in space as in time, is the Master Key that Funakoshi proposes, reminding us that such a thing is possible, telling us to look for those essential rhythms that dominate all conflicts in order to make ourselves the owners of the rhythm of the opponent so that he dances to our rhythm.
12. Don’t nourish the idea of defeating nor that of being defeated It is this point that has so controversially generated the debate over whether Karate should or should not be practiced in competition. In my opinion, the essential matter in this arises in the correct attitude of the student. If we put the objective outside, undoubtedly we don’t have it inside. But such a decision is more a state of mind than a defined act. For the Master, Karate is before all else an interior way. As a road of overcoming oneself, in Karate, the exter nal achievements cannot be its foundation; therefore, the enemy is not outside but inside; as long as we attend to the external we won’t be attending to the real reason that the Art exists, and for
15. The hands and feet must strike like sables Here, the Master reinforces the knowledge of spirals as the most powerful and natural forces and movements. Einstein opened our eyes at comprehending and affirming that the shortest distance between two points would never be straight. The very formation of our arms comes in the embryonic period of two spirals that come from the collision of the Heaven and Earth forces that generate the embryo. In its polarization, which is growth, these forces develop two pairs of spirals of seven turns that generate the arms and the legs. One is longer, Yin, (the legs) and the other is shorter, Yang (the arms); its conception and architecture make all circular movement easier. The Japanese sable is curved for this reason, compared to the majority of Western swords. The understanding of the principles in the spiral is deeply inscribed in the popular knowledge in the East and frequently represented in its
Karate-Do “As a spiritual practice, Karate-do is an Art that forms a part of the nature of the students forever. Apart from reciting this phrase, the students renewed their commitment to the Art daily, giving it the adequate space in their beings.�
We analyze the twenty golden rules of the founder of Karate-Do
symbols. The master reminds us with this principle that we must act in accord with the nature of things and not against them, opening with this key the door to a principle to which every student must pay attention in his own learning, a secret to remember beyond what his Master teaches him.
16. At crossing the threshold of our home, 10,000 enemies are waiting Again, we have the principle of continuous attention. Attention must close itself off to entropy and there’s nothing better for that than to put oneself to the test, and for that the Master teachers us his trick. Always be on guard! In this way your attention will remain alert. The Vietnamese used to repeat to themselves, “The one who awaits the worst never loses the initiative.” But, please, without paranoia! I don’t know why, but this rule always brings to mind an Eastern saying that I love: “If a tiger guards the ravine, ten thousands deer will not pass!”
17. Kamae is the rule for the beginner, later it is possible to adopt a more natural posture Kamae! To be on guard, attentive, willing, ready to react. With this affirmation, the Master reminds us that the training has grades and evolution. The training is like a funnel through which you pass, stretching your nature and ridding yourself of the unnecessary in order to return to yourself, but transformed by the experience. It is a way to return to what is natural, a round trip in which your luggage can’t be carried, your memories, your experiences. I remember on this point a Zen saying: “Before Zen, the mountain is mountain, the valley, valley, the moon, moon. During Zen, the mountain is no longer a mountain, nor the valley a valley, nor the moon a moon. After Zen, the mountain returns to being a mountain, the valley, a valley, and the moon… moon.” Nothing has changed and yet everything is different! Once trained, Kamae is an attitude, a key that opens a door, not the room in which you are trying to enter; it is the finger that points to the moon, not the moon itself!
that in their practice one trains the movements with technical perfection. There is no contradiction between this and to fight with movements that do not reproduce what one executes in the Kata, as some current masters proclaim. Funakoshi left this point very clear. Once more, we must remember the position that Orientals maintain with respect to the forms and that we developed in the analysis of the first point of the Dojo Kun. The intention of Karate Do is not that of creating extreme fighters, or supermen, rather to develop the spirit and the body of the student through training that gets the best out them, facilitating the positive education and growth of the individual, who can, in addition, make positive contributions to their respective societies.
18. The kata must be done correctly; however, in real combat their movements will be adapted to the circumstances
19. Three factors must be considered: strength, magnitude, and technical level
As before, he tells us to be flexible but rigorous. The Kata are the base of the “form”, for that it is essential
Facing a partner or facing an opponent, Funakoshi reminds us of three factors that we must keep in mind in
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evaluating what we have in front of us and ourselves. The first two relate to physical considerations and the third to experience and knowledge.
20. Go deeply into your thinking Probably back then, as now, Karate students were people more of action than of reflection. But as everything must be seen in its opposite, the Master finishes his proposals with a clear allusion to the mental development of the neophytes. On this plane of reality, all is mind, or in the words of Carlos Castaneda, the world is a description. It is not in vain, then, to tell all practitioners of Karate Do to develop their skills and knowledge so that they can grow as people, understanding the reality that underlies appearances, reflecting and meditating to complete their learning.
Funakoshi still lives in his proposal In this analysis we have seen that the Karate Do that its founder proposes is a transcendent practice to the extent that it can take us beyond the symbolic, a way that opens
doors and windows to allow us to understand and act justly, even beyond moral evaluations. A way of interior growth that stems from the exterior with positive results, a formulation of the way of the warrior that has known how, in one way or another, to find an echo almost unthinkable in those early days in which the Master combined the thousand-year-old warrior tradition with the understanding and the initiation formulas from the Japanese tradition in order to reach a formula as universal as it is intense, one that has survived, evolved and transformed thousands of people in the past decades. Although today his principles shown in the Dojo Jun remain ignored, they are alive in the spirit that underlies the diverse practices of the multiple styles, transformations and polarizations of the same initial spiral; a firm starting point that had a name: Gichin Funakoshi. So, Oh, Master, with this article we want to renew for you our eternal gratitude and recognition, and nothing better to do it that to think about you when so many students think that you are antiquated. What they do not know yet is that what is classic is eternal and can never be antiquated.
Great Masters
Karate-Do
Ving Tsun
Great Masters Yip Man Ving Tsun "... One of the GUARDIANS OF TRADITION": Grandmaster CHAN CHEE MAN On my trip to Hong Kong I had the great fortune of meeting some excellent Masters, people devoted to the practice and study of the art of Ving Tsun for many years with great commitment and dedication. Generally speaking, all I have is words of deep gratitude for the treatment I received and the facilities I was given to carry out this series of interviews. But now, where this point is concerned, I must stress out that this month's interview was one of the most important and special ones among the various I conducted during my trip. Talking about Grandmaster Chan Chee Man is talking about PURE Ving Tsun Kung Fu. I don’t think it’s an exaggeration to say that GM Chan Chee Man is one of the Guardians of Tradition, like I state in the title of the article. Not surprisingly, he has been one of the few students still alive who studied for a longer time in a direct way with Grandmaster Yip Man. Interview: Sifu Salvador Sánchez
Ving Tsun This direct training, along with his close relationship with some of the most important figures of the system in Hong Kong, such as Wong Shun Leung, make him an authoritative voice of Ving Tsun. He is one of the last students of the first stage of Yip Man's teaching in the "Worker's Union Restaurant", where the legendary master taught with more intensity and detail. No discussion, Chan Chee Man is indeed one of the GUARDIANS OF TRADITION of the purest Yip Man Ving Tsun Kung Fu. fter meeting him, I must outline quite a few things that I was pleasantly surprised by. First and foremost, his excellent Ving Tsun. At his 80's, Master Chan Chee Man is still able to maintain a level of intensity in his practice at reach of only a few: position, energetic movements, technical mastery, etc. Secondly, his deep knowledge of the true story of Ving Tsun in Hong Kong! I had the great honor of chatting with him for quite some time while we walked along the city streets and he was showing me the places they used to train as well as and liked to hang out at that time. A memorable stroll full of anecdotes and history that I will never forget. He invited us to visit some Ving Tsun schools of his former fellow practitioners. When you visit any school of Ving Tsun accompanied by him, you can immediately feel the way that everyone RESPECTS him. He is ADMIRED! Admiration and Respect acquired after half a life devoted to the study of Ving Tsun. But above all, the RESPECT he's earned by his way of being: an honest and respectful man completely committed to the Ving Tsun system and the lineage of Grandmaster Yip Man. But besides those two points, certainly very important, I must stress out that my feeling after knowing personally Chan Chee Man was that of having met a GOOD MAN, one of those persons that give off KINDNESS AND Generosity. And I think that the entire community of fans of Ving Tsun worldwide should know about this BIG ONE amongst the biggest in the recent
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Interview history of Ving Tsun, so that he can occupy the place he deserves in the lineage of Grandmaster Yip Man. Chan Chee Man was born in the 30's, in the British colony of Hong Kong. He lived the invasion of the Japanese during World War II that caused that families like his, who enjoyed a confortable financial situation, ended up suffering economical needs. In this turbulent scenario, young Chan Chee Man was lucky enough to work as a clerk at the YMCA organization (one of the largest and oldest NGOs), which allowed him to learn correct English and have a monthly income that would help to pay the expenses of studying Ving Tsun. Since his youth he has been a Kung fu enthusiast. Being a highly detailed oriented person in the study and practice, allowed him access to the knowledge of
Ving Tsun as taught by Yip Man. Along with some of his SiHings, like Wong Shun Leung, he had the opportunity to test the effectiveness of the system in front of other styles during the Beimo or friendly challenge fights, as well as real encounters on the conflictive streets of Hong Kong in those years. It is a great honor for me to present to you the interview with Grandmaster Chan Chee Man: Pure Yip Man Ving Tsun! Master Chan Chee Man welcomes us into his home, and the first thing I should stress is his enthusiasm. He is a man full of eagerness. He jokes about his age... He claims he's slowed down a bit his workout rhythm because he is "only 80 years old".
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Budo International: Good morning MASTER. Thanks for having us received in your home. It is an honor to be here and I want to express my special gratitude to you for your kindness and all the facilities you have granted to us for this interview. Sifu Chan Chee Man: No ... Thank you for coming from so far away. It is a joy receiving people from Spain, where my pupil Sifu JosĂŠ Ortiz resides, and where we are always treated so well. B.I.: Well, in the first place, we would like to know something about your origins in the Martial Arts. When did you start practicing Ving Tsun? C.C.M.: I started at the age of 17 years. It was a small boy and was an "easy target" for classmates. So I became interested in Martial Arts. But I did not start practicing Ving Tsun. My early years were devoted to the study of other systems of southern China: Hung Gar and, especially, Choi Lee Fut. I knew about Ving Tsun later, by a friend: William Cheung. In a technical exchange I saw him perform the Siu Lim Tao and I must admit that I didn't find it impressive. So I decided to try a "Bei Mo" and after being defeated easily by William Cheung with such "simple" techniques my interest in Ving Tsun grew strong, so I made up my mind to train and learn this system. A few days later, William Cheung accompanied me to the "Worker's Union Restaurant" where Grandmaster Yip Man taught classes and where I studied for years with him and a group
Interview of leading Ving Tsun practitioners including Leung Sheung, Lok Yiu and Tui Sheun Ting, and very especially with the great master Wong Shun Leung, to whom I had already met before going to Master Yip Man's school. B.I.: Tell us about those years. What was training like? C.C.M.: The "Restaurant Worker's Union" was in the district of Shan Shui Po, between the streets Wong Chuk and Nam Jai. I lived nearby so I used to go to train every day. We were a small group of practitioners, so Grandmaster Yip Man's teaching was direct and very detailed. Training was really thorough. I liked to pay close attention to every detail that Yip Man would show us. I used to arrive earlier. Normally the master was sleeping at that time so I used to awaken him and prepare his tea. It was a way to benefit from private lessons and receive precise instructions for the practice.
“… my commitment to Yip Man was exactly that: to teach the system as it was and that's what I do. I also ask the same to my instructors and students. Ultimately, I respect any opinion or tendency, but it's not for me. I only practice the pure Ving Tsun of Grandmaster Yip Man.”
Ving Tsun
Ving Tsun Teaching began with Siu Lim Tao. Yip Man divided the form into three sections and emphasized on making precise movements, being relaxed and maintaining a correct posture. I had to practice the first section for a long time while Sifu insisted that I should performed Fook, Tan and Wu Sao correctly to learn the proper use of the elbow and the center line. Then it was taught the position and the use of the hip, stressing out the knees, because that's where the power
comes from. Sifu then explained the concept that every blow should use the connection of six joints in order to have a powerful impact. The six joints are the ankle, the knee, the hip, the shoulder, the elbow and the wrist. He also taught me to imagine my opponent in front of me and to hit on the same spot with plenty of power. He likewise showed me how to punch the sandbag in the same way. Sifu explained the different types of punches, especially the one-inch-
punch, inner punch and outer punch, and how to generate power from the ground in the Ma position. Our daily training included hitting the sandbag, fists in the air (inner and outer fist), Seung Ma (step forward and attack), Toi Ma (step back), Chor Ma (twisting step), kicks, forms, the wooden dummy, Chiu Ying practice (focusing), Choi Ying (staying focused) ... When we practiced with a partner, especially Chi Sao, Sifu wouldn’t let the students got involved in a mad interchange of punches performed in whatever mode, and he made sure that we all followed the method of Ving Tsun. I remember Sifu sitting in a chair in a corner watching us. He used to say: "You just can't hit each other and scare your partner breaking his lip and making him bleed. Thus he'll never get to learn Ving Tsun. You are here to learn Ving Tsun, so you must do it the right way! If you come to practice Ving Tsun, you must hit the Ving Tsun way. Otherwise you need not come to me, you can stay home and train there". I also paid a specific attention to the explanations of my SiHings (elder brothers in the art). Many of them have already died, but they always helped me to learn a lot, especially Wong Shun Leung. With him and his first student, Wu Chun Nam, we spent hours and hours practicing Chi Sao and Da Lat Sao (Free Fighting). We ended up arguing almost always. We loved to try among us, but sometimes we also fought with others on the "Bei Mo" (challenges). Besides, as I was the smallest in size many wanted to fight me... (Laughs). At night, after training, sometimes I accompanied Yip Man to the "Three Prince Temple", where Sifu used to go to pray after the class, and at other times we'd have tea with other SiHings / SiDais. That fraternal atmosphere, where Sifu was more relaxed, was a
Ving Tsun good opportunity to learn theoretical aspects about Ving Tsun. B.I.: In what has Ving Tsun changed? Or, asked another way... Why are there so many differences between the Hong Kong Ving Tsun and that of Europe or USA? C.C.M.: Well ... that's normal. There are different interpretations and viewpoints. But that's not bad. What is really important is that the principles are respected. If you stop using concepts like staying relaxed, positions, movements and focusing towards the center line, then you've stopped doing Ving Tsun... But if these are maintained, there may be differences, but that's not really important. I understand. ALTHOUGH I prefer to keep doing the Ving Tsun such as I learned from my Master Yip Man, unchanged. B.I.: Have you ever introduced any change or evolution to the system? C.C.M.: No. NONE. Why should I change something that is fine and works? (Laughs ...) B.I.: Then I can imagine your answer if I ask you about the evolutions of Chinese classical systems and the emergence of Mixed Martial Arts (MMA) in the current scenario. What do you think about all this? C.C.M.: I think it is okay! Simply it's not for me. I practice Ving Tsun as a classic Kung Fu system; I do it and teach it as I learned from my Master, without changes. I understand that times change, but my commitment to Yip Man was exactly that: to teach the system as it was and that's what I do. I also ask the same to my instructors and students. Ultimately, I respect any opinion or tendency, but it's not for me. I only practice the pure Ving Tsun of Grandmaster Yip Man. B.I.: Do you have more schools outside Hong Kong? In Europe or other continents? C.C.M.: No. Currently only Sifu José Ortiz, in Spain. B.I.: Tell us about your way of teaching. I mean ... As you know there are Masters who focus their practice on health, others do it in self-defense, and still others in more traditional aspects ... In what focuses his training Grandmaster Chan Chee Man? C.C.M.: In all that ... I mean. Ving Tsun is very good for health. It keeps you flexible and dynamic and that's good. And if you're healthy you can practice longer. Maybe when you're older you cannot practice with the strength
“Yip Man was a person who liked to laugh and joke. He used to give us nickname and sometimes when we walked down the street with him he'd attack us with surprise blows as a joke, laughing heartily if we didn't react on time.”
Ving Tsun you had when you were young, but you can still keep practicing Chi Sao and forms at a good level. So everything is important. On the other hand, as I said, for me it is important to honor your masters and elder siblings. It is my commitment to the "family". And that is what I continue to do with just "80" years ... (Laughs) At a technical level it is important to look after the details, the small details!! Master Yip Man used to teach students who paid attention to details and were constant. Properly practiced, Ving Tsun is a very effective style in real fight. I like it because it's simple, practical and straight. Simple doesn't necessarily mean easy. If you want to reach a good level and great skill, you must spend a long time training and working hard to get it. It is also a very appropriate style for weaker people, once you know how to relax properly, not following the hands, etc. B.I.: Any advice to the Ving Tsun fans who will read this interview? C.C.M.: In Ving Tsun, position (Yee Chi Kim Yeung Ma) is very important. Pay close attention to it. If the position is good, everything else will improve. We'll manage to get relaxed and thus we will be able to move as needed. Yip Man constantly corrected this detail. The position allows us to "take the strength of the ground" and, it's clear ... the strength of the ground is UNLIMITED!! (Laughs) Of course there are other important elements in practice, but everything must begin with a correct position. Without it, simply THERE'S NO VING TSUN!! I usually tell an anecdote that Yip Man always told us ... "Do not enter a combat (by the Bei Mo), but if you have to do it and you want to succeed you need two very important elements: 1) a firm and correct structure, and, 2) have no fear of being hit. With those two elements and that combative "spirit" you will be very hard to beat." B.I.: In your opinion, Da Lat Sao (Combat) should be an important part of the training? I'm asking you this because many people probably think that Ving Tsun is increasingly moving away from the realism in combat. C.C.M.: It is an important part, but not the only one. Practicing Da Lat Sao alone is not good, because the practice of free fighting should be done only occasionally. Practicing the techniques and ideas in detail will make us better in Da Lat Sao. So it is best to practice from time to time instead of focusing exclusively on this. In the early years of practice in the "Restaurant", Yip Man was very insistent in techniques and details. And he did so because for him, technique was the real engine of the system. I also believe that the details will help us achieve all abilities. When we practiced Da Lat Sao, one of the training partners acted as if he was from another style, while the other used Ving
Tsun. As you know, Ving Tsun rarely moves the position or Ma (we don't shift much), while in a fight, we can find an opponent who is extremely strong, hits very fast or enters too quickly. In this situation we have to use Chiu Ying and steps in order to trap the opponent. B.I.: Any anecdote from your years with Grandmaster Yip Man? C.C.M.: Well, let me think... Yeah, I’ll tell you one. As I said at the beginning, I went to learn Ving Tsun from the hand of my friend William Cheung. I began to practice without knowing the name of his instructor. Out of the school, everyone was talking about Grandmaster Yip Man and his excellent ability as a fighter. Several weeks after starting to practice Ving Tsun in the Worker's Union Restaurant, one day I asked some colleagues when would I see Yip Man... My Shihing William Cheung looked at me and laughed. Mockingly he said, "Yip Man is our master, you stupid!" As I didn't believe him, I went to the master and asked him directly if he was really Yip Man. The master looked at me smiling and didn't say anything. Yip Man was a person who liked to laugh and joke. He used to give us nickname and sometimes when we walked down the street with him he'd attack us with surprise blows as a joke, laughing heartily if we didn't react on time. B.I.: I want to thank you for having received us in your house and for answering our questions. It has been an immense pleasure to listen to you and receive this real MASTER CLASS of Ving Tsun. I hope to see you in Spain many times. If you would allow me, I will attend your course in Spain to try to learn as much as I can. For me it is a great honor to be here and listen to you. Thanks from my heart. C.C.M.: Don't mention it. Welcome to Hong Kong! I hope you have a good time during your stay here and I look forward to see you in my course in Spain
ACKNOWLEDGEMENT: When we organized the trip to Hong Kong, we told our plans to Sifu José Ortiz (Barcelona), director of the Ving Tsun Kung Fu Association, with whom we have an excellent relationship, and asked him about the possibility of interviewing Sifu Chan Chee Man, taking advantage of the trip. As always, Sifu José Ortiz offered us his help and arranged everything for the meeting and the interview. I want to thank José from here all help and support he gave us. Without him it would not have been possible. I feel deeply grateful in every respect to Sifu José Ortiz and the AVTK (Association of Ving Tsun Kung Fu), which is also a very important part of the WingTsun Department of the Spanish Wrestling Federation, in which we try to unite all Ving Tsun schools in our country. Also, after my trip to Hong Kong I have attended some Classic Ving Tsun classes taught by José Ortiz and I recognize his enormous value as a master and as a person. So I want to thank him and Judy Chan (Grandmaster Chan Chee Man's daughter) for all their warmth and help that allowed me to carry out this interview. THANK YOU!!
“You come here to learn Ving Tsun, so you must do it the right way! If you come to practice Ving Tsun, you must hit the way Ving Tsun does. Otherwise you need not come to me, you can stay home and train there.�
Kung Fu Yin Yang The “Yin and Yang” symbol or to be more precise the “Tao” is probably the most popular symbol in the global martial arts scene. Also outside of it many people know it and many are able to give some meaning to it. But only few people really understand what this symbol actually is about and what theory it is attached to.
T
here probably comes a point in every martial artist’s life at which he deals with the symbol. Some may do so a bit more extensively than others. The fascination with the symbol is understandable as everybody has seen it before and many people have something to say about it. But only few people seem to really understand it. By means of this article I am striving to fathom the deeper meaning of the “Tao” symbol so that more martial artists worldwide understand it and gain insight into the philosophical education of the KUNG FU SCHULE MARTIN SEWER. I have just mentioned one of the most important things one has to know about this matter: it is a symbol. That means it is representative of something, a thing, an idea. Or in this case of a specific theory of a world view. Strictly speaking, it is for example irrelevant whether the colours of the symbol are black and white. They might as well be red and blue. A friend of mine, who is not so much involved with the martial arts, once made this statement with regard to the “Tao”: “It means that in all good things there is a modicum of the bad and in all bad things there is a modicum of the good.”, and mainly referred to the two dots in the symbol. One certainly cannot say that my friend was completely wrong with this statement. However, thereby he did not get to the heart of the matter. I would like to tell you how I explained it to him. Similar to how my teacher explained it to me once (or to put it more precisely, how he hinted at it in his own way):
The Yin and Yang theory in principle is based on three pillars: 1. The interdependence and polarity of Yin and Yang 2. The infinite divisibility of Yin and Yang 3. The transformation of Yin and Yang 1. Yin and Yang are interdependent of each other, i.e. there is no Yin without Yang and vice versa. Only through the existence of one part can the other exist. So as there would be no night without the day or no shadow without light. One may already notice: Something, an arbitrary thing, thus, cannot stand for Yin or Yang on its own. Only in comparison to another thing can something represent the aspect of Yin or Yang in relation to the other. The “Yin” or “Yang” status of a thing, therefore, is always relative and by no means absolute. This status only exists due to a comparison. Thus, in comparison to white, grey has the status of Yin and white the one of Yang. But in comparison to black, grey takes the status of Yang and black the one of Yin. The ability to attribute the characteristics of a thing to Yin or Yang in comparison or in relation requires an understanding of what it stands for. The old masters often used the example of fire and water. One could describe it more accurately as follows: the typical traits of Yin could be: cold, downward direction, dark, passivity, softness etc whereas the typical traits of Yang could be: heat, upward direction, light, activity, hardness etc. 2. Everything, to which one applies the theory of Yin and Yang, therefore has to be seen in terms of relations or comparisons. The
Kung Fu
Kung Fu
second pillar teaches us that these relations can be infinitely divided anew and that the comparison between different things can be split into endless detail or endless dimensions. The hand (up) is compared to the foot (down) Yang; but the palm (inward) is Yin in comparison to the back of the hand (outward), and the fingertips of the back of the hand (front) are Yang in comparison to the ball of the hand (back). In this way every Yin aspect of a thing can again, in relation to something else, be divided into a new Yin and Yang context. And both new Yin and Yang aspects can in turn be divided into a new context and so on and so forth. 3. Yin and Yang are continuously changing. Nothing is absolute and stays like it is for ever. Think about it for a moment; has there been something in your life that has never ever changed or is never going to change, realistically speaking. The answer is: Nothing has. Everything is constantly changing. As we have seen, there is no Yin without Yang and no Yang without Yin. The third pillar thus teaches us that someday in the process of change, at some point, Yin turns into Yang again. After summer comes winter and after winter comes summer again. Thus, in every Yin there is a seed of Yang and in every Yang there is a seed of Yin. Just like there is a sunny day in winter and a rainy, grey day in summer. Thus, my friend was not entirely wrong with his statement. Yang someday transforms into Yin and Yin eventually into Yang. Can you perhaps already see in what way this can actually be connected to the martial arts? For example the fact that you can ward off a hard, inflexible attack (Yang) with a soft, flexible movement (Yin)? Or the fact that you can throw your opponent offbalance by firstly leading him or her force to the left (Yang) and then to the right (Yin). Do not worry, even if uniting theory and practice may take some time, now I can already say: Congratulations! You have read and understood the three pillars about the Yin and Yang theory and now you know. But caution: I said you “know”. I did not say that you comprehend or get to the bottom of it. So what I am trying to say is that something as complex as this theory or like many other ones, which are taught in my school, partly take a whole life in order to be really comprehended in their depths and thus to be also perfectly implemented. I am already looking forward to any questions in this direction. And let’s be honest; we, as martial artists, derive our motivation from knowing that we have never stopped learning in these matters. That is what attracts and drives us. So that we may become better and better.
“I did not say that you comprehend or get to the bottom of it. So what I am trying to say is that something as complex as this theory or like many other ones, which are taught in my school”
Kung Fu
Keysi by keysiworld SL
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Keysi
What and Who is Keysi Budo International: What and Who is Keysi? Justo DiĂŠguez, Keysi.: Keysi is the Spanish Art created and developed by Justo DiĂŠguez with a single purpose: Personal Growth. Body mechanics, the basis of movements, in the Keysi Concepts and Principles follow universal laws that are not limited by any system or style; Keysi develops the Body, the Mind and the emotional state, fusing them in a whole and in a unique principle, the development of values ??providing students with the necessary physical, mental and emotional Tools and Attributes. What differentiate notably the Keysi method from any Martial Art are its Principles, which teach us and give us the capacity of Self Expression and Self Realization; perseverance and training is the process of development, evaluation and adaptation in Keysi, goals that must be achieved within the range of qualities of each practitioner. This is the adaptation of the art to the person, not of the person to the art that provides a higher and instinctive structuring attitude in a dangerous situation, a capacity for analysis and appreciation of the environment and how to use it to your advantage. This results in an emphasis far superior in controlling the force applied on an attacker, whether armed or empty handed.
Keysi
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B.I.: Is Keysi a mixture of martial arts? J.D.K.: Keysi is not the art of arts or a mixture of techniques extracted from different styles. Neither is it a theoretical explanation of many different martial arts. On the contrary, it's a perfectly planned and defined work of concepts and principles as the result of a long and rigorous introspection. It's a way - a philosophy of life based on knowledge, research and experimentation for the growth of the person, with the physical expression and Technique as a transport and a consequence: Self Defense. B.I.: Why do you call it method? J.D.K.: Keysi is the revolutionary challenge in the world of classical and systematic Martial Arts, that provides the practitioner with the necessary tools in every area of combat and its development through the scenarios, and emphasizes control of the 360º
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area where one or more adversaries may be involved; in the development and application of techniques, it gives us a high instinctive survival attitude in an extreme situation; this predator physical expression ability develops an explosive action / reaction response in the applications; and the key, that is, what is most important, is the emotional state of the practitioner, who has the ability to analyze a risk situation and is able to stay calm and control the use of force. Us humans are the dominant species because of our ability to adapt and evolve and we must continue to evolve and grow; this process is the result of our instinct as a species; the goal in the Keysi method is that of maintaining a constant and active attitude in the field of apprenticeship; this a place without boundaries, where our emotional state, through our mind, can express its creativity in physical form.
“The goal in the Keysi method is that of maintaining a constant and active attitude in the field of apprenticeship.”
Keysi by keysiworld SL
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Keysi
B.I.: Objectives in Keysi... J.D.K.: The objectives are to overcome ourselves, to conquer ourselves, not with the aim of controlling our emotions since this is impossible, but we can recognize them, and for that we must first recognize ourselves; we need to develop a code of honor for us in the search of our self. These are the "principles" of our method that, properly trained and correctly applied, offer us unique benefits. B.I.: What is most important in your teaching? J.D.K.: The most important thing we teach is having a Purpose, where the student learns to discover his or her Physical, Mental and Emotional limits. • In the Physical limits you discover the strengths and weaknesses, • In the Mental and Emotional limits, you will move from believing that you are limited to discovering that your potential is unlimited.
“In the Physical limits you discover the strengths and weaknesses. In the Mental and Emotional limits, you will move from believing that you are limited to discovering that your potential is unlimited.”
Keysi
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B.I.: A Proposal... J.D.K.: Keysi by Justo Diéguez is basically a dream so powerful that it can affect the lives of many people; although extreme and radical, it's nonetheless a non-violent method which is suitable for everybody, men, women and children alike, without age limitations. My proposal is aimed at all those of you who have chosen to become Keysi instructors. You have begun the journey in your education, now you need to protect your formation with honor and respect, because an instructor has in his hands the power of transmission; for this you must be ready to go deep within yourselves and be willing to make it happen; it won't be the words what will bring it into being, only through hard work you'll achieve your goal, and the consequence will be to obtain the best result in each of your students; if Keysi changed your perspective on life, now you have in your hands the possibility of changing the lives of others. This is a proposal that goes beyond dreams, because to make a dream come true, we must wake up, get to work and be sure that we will succeed.
“What differentiate notably the Keysi method from any Martial Art are its Principles.”
Keysi
Always with the Ochikara, "The Great Strength" (called e-bunto in the Shizen vernacular tongue) or secret wisdom of the ancient Miryoku Japanese shamans, as a backdrop, the author takes us into a world of genuine reflections that are capable to move at once both the reader's heart and head, thus placing him continuously in front of the abyss of the invisible, as the true final frontier of personal and collective consciousness. The spiritual taken not as religion, but as the study of the invisible, was the way of the ancient Miryoku sages to approach the mystery in the framework of a culture as rich as unknown, to which the author has wholeheartedly devoted. Alfredo Tucci, Manager Director to Budo International Publishing Co. and author in the past 30 years of a large number of titles about the Warrior's Way, offers us a set of extraordinary and profound reflections, which can be read individually in no particular order. Each one of them opens up a window to us through which we can take a look at the most varied subjects from an unexpected angle, now dotted with humor now with forcefulness and grandiosity, placing us in front of eternal matters with the view of the one who has just arrived and doesn't agree with the common places in which everyone coincides. We can affirm with conviction that no reader will be indifferent to this book; such is the strength and intensity of its contents. Saying this is saying a lot in a world crowded with collective mangers, interested and behavioral ideologies, manipulators and, in short, spurious interests and mediocrity. It is therefore a text for big souls and intelligent people who are ready to look at life and mystery with the freedom of the most restless and scrutinizing minds, without dogmas, without transient morals, without subterfuges...
IPC - New social link for Law Enforcement Units
Many of you already know Captain Jacques Levinet, international expert and founder of various self-defense disciplines for civilians (Self Pro Krav, Defense Baton, Defense Cane) as well as several police operational training methods (Real Operating System or ROS, Operational Tonfa or OT, Operational Baton or OB, Protection and Intervention Operational Technical Gestures or PIOTG).
Text: Jacques Levinet Photos: Edith Levinet
Police
Professional Self-defense His pilgrimage around the world within police, military and SWAT units (United States, Russia, Australia, Canada, South America and Europe) allowed him to get in touch with the world's leading experts on security. From his personal experiences emerged the idea of ??establishing a bridgehead and bring together the security forces throughout the world in the form of a global structure that he named as IPC or International Police Confederation. This initiative has been well received worldwide and several countries have already joined the IPC. We wanted to learn more about this creation.
Police
Professional Self-defense Budo Inter national: Could you describe to us what is IPC? Captain Jacques Levinet: The International Police Confederation (IPC) is reserved exclusively for members of the security forces, whether active or retired (police, army, customs, prison, official security forces). The organization is a link between different police units so as to exchange practical and operational techniques, experience and cooperation among members of the security forces, experts and organizations worldwide. This structure is headed by a group of renowned professional instructors, including Captain Jacques Levinet, international expert and founder of the IPC. Belonging to the IPC, subject to conditions, opens up the wide range of rights to participate in inter national training courses, seminars, meetings, conventions, recognitions and professional information. No politics and no religion in the CPI. B.I.: Please, tell us about the structure of the IPC... C.J.L.: The organization is built around a central office consisting of a President, two Vice Presidents and a Secretary General, as well as an IPC Director and a representative for each country concerned. For membership in the IPC, you must imperatively belong to the security forces (police, army, customs, prison staff, and state official security bodies). A detailed and documented request must be sent to the IPC headquarters, which decides the acceptance or rejection on the basis of the candidate's seriousness and credibility. The amount of the annual fee is 50 â‚Ź. In addition to France, which counts on several representatives, other countries have already joined the ranks of the IPC in Europe, USA, South America and Asia.
Police
B.I.: What are the objectives of the IPC? C.J.L.: Our aim is to exchange the different professional experiences of each of our members, based on their work and according to their country. The laws are not the same, especially concerning self-defense, in Europe and elsewhere. For example, the use of service weapons is different, according to the security forces units and their own ethical and legal use criteria. It is good to know, at the time of globalization, the way that the different law enforcement forces work on the ground. The IPC plans to establish exchanges in legal matters, without any
controversy (knowing the rights and duties of each of our members in the performance of its functions), in the experience of managing violence, in the formation (both basic and permanent) and training methods for the different law actors in their application on the spot. Our goal has no political or economic purpose and only pretends to get to know each other among the different brotherhoods that form the law enforcement forces. A universal acknowledgement without any chauvinism or a priori.
Professional Self-defense
Police B.I.: What will be the means of action of the IPC? C.J.L.: The universal English language will be our common vehicle for our media. The IPC will hold regular meetings with the managers and directors of each respective country so that the first step will be to know each other better and define common actions with respect to the same goals. Courses and seminars will also be organized to share knowledge from stakeholders, on the
basis of their personal experience and professionalism. Exchanges of information, always marked by ethics, will be held respecting the professional secrecy inherent to any unit. For this we already have a website online with the placeholder and a Facebook social link. Videos are already in operation in social links as YouTube or Daily Motion. Common regular courses will also be on the agenda of the different countries that make up the IPC. This should help
Professional Self-defense to make known the different training methods. Likewise, pedagogical means common to IPC will be also stablished to give a performance identity and a tag to the IPC. Diplomas and IPC graduation certificates shall be awarded after evaluation of the knowledge and
experience of each of the applicants and not necessarily without any verification. In short, individual members of the IPC will be also actors and stakeholders, on the basis on their personal achievements, and not just inactive members claiming they belong to the IPC. An interaction is needed to give credibility to our structure and make it more real. Knowledge is shared and cannot be decreed B.I.: What awards has the IPC? C.J.L.: The IPC is already based on the credit granted to it by the International Federation of Self Defense and Police Training ALJ (Jacques Levinet Academy), which is already established in many France regions, in departments and clubs as well as in several European countries and other continents. To ensure a better study of the concerned official authorities, every Director of the IPC it will be accredited by a letter of recognition of his functions within our organization. Then we intend to sign association agreements and mutual recognition with other existing structures or federations in the countries affiliated to the IPC. The IPC credit also implies acceptance of the educational components of the member countries. In other words, training methods taught and used by the representatives of the IPC, will be studied as appropriate, recognized and endorsed within our organization. Our goal is not being sectarian or not recognizing this or that family of methods, but to remain open in accordance with the methods chosen by our
different foreign partners. For example, with respect to France, the Real Operational System or ROS, which has been already proved with special units and general services, has been approved by the IPC, but it won't be the only one, since we don't believe ourselves to be in possession of the truth. This opening will allow us to improve and better accept differences without proselytizing. In fact, we do not want an IPC method but a set of knowledge, with respect to its intrinsic identity. B.I.: Which are the projects of the IPC? C.J.L.: Getting an international recognition worthy of the name is subject to the credit we want to obtain from the different countries involved. This cannot be foreseen but through a serious work of our members and the tag of the IPC. All these reasons push us to project an annual international meeting, under the form of a common training seminar, and at the same time a police conference with the attendance of quality participants, about the respective problems of action and reaction in law enforcement. Such events should enable us to strengthen the ties that bind us to the International Police Confederation. Finally, an IPC membership certificate is available to allow each of our members to identify himself better with his interlocutors. So we wish good luck and success to the IPC. For further information: http://www.International-PoliceConfederation.com Tel .: 00.33.467.075.044
The KMRED concept and especially the KMRED Pro Training Solutions method, is intended to prepare professionals to adapt to complex and evolving situations. A specific technical module has been designed for close protection and its contents has been integrated as an official method for the formation of a major training company in private security, ESF (Europe Security Formation), one of the main partners of the group KMRED in this area.
The KMRED group has a training branch for Private Security professionals, Police forces and the Army.
The "Law Enforcement" module has been used for several years for many professional units in France and abroad.
The peculiarity of the KRAV MAGA R.E.D. system is to propose solutions that fit. The KMRED concept is conceived by 'Bases' and 'Principles' and not technique by technique.
The 'Pro' method differs from the management of a conflict situation in the "self-defense" module, mainly due to the fact that the intervention procedures are carried out "normally", with a minimum of two officers, and achieving the 'control' of the individual is the most important.
Most of the Close Combat systems that currently exist for professionals are methods designed to deal with "Cooperating" or "Semi-Cooperating" people, and hardly propose anything positive to confront people who have a sharp sense of combat and adapt to any situation. Most of the body-to-body combat systems currently existing for professionals are methods designed to deal with "Cooperating" or "SemiCooperating" people, and hardly propose anything positive to confront people who have a sharp sense of combat and adapt to any situation.