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Ref.: • Malte-6

Professor Maurizio Maltese presents in this extensive and detailed work the "Scherma Jonica", Ionian fencing, an art cultivated century after century, perfected and made more and more effective by constant practice in every district, village and town of the area straddling the Ionian Sea, between Calabria, Apulia and Basilicata, and with very diverse influences from pre-Roman, Greek, Byzantine and Norman peoples, as well as Spanish and French origin. The knife was the weapon available even to the poorest of men, the farmer and the herdsman, who used it in most of their daily work, from cutting a piece of bread to defending themselves against an aggressor (be it animal or human). As fighting became indispensable to assert one's rights, the need arose to train, to attend a teacher and sometimes a school. In the schools of arms one learned to use other elements in aid or in concert with the knives, such as the jacket to camouflage the blade, which, unbeknownst to the adversary, or the hat. Thus, in Ionian fencing, century after century, many ideas and traditions of different schools, distant in time and space, are mixed: it is obvious to think that each region, if not each Italian village, used its own and different techniques, if only because of the great wealth of forms that the knife had in the country, both in its daily use and in its offensive use.

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Ref.: • KAJ-8

Kajukenbo is an eclectic and versatile system that was born as a useful and credible tool for self-defense in modern times, it is not a martial art of sports or traditional profile and therefore its learning is suitable for all types of people whatever their condition and in which there is only one premise according to its creator Sijo Emperado. "Fight to train, train to fight, fight to win.... go for broke". The standard techniques, above all, have to serve as a model of application of different wellstructured basic principles whose purpose is purely efficiency, sometimes even supported by the ability of creative improvisation. This is basically achieved by training different combinations of the same principles and avoiding their excessive mechanization. Every aggressor has a plan or a predetermined intentionality, so it is unquestionable to be extremely effective in the blocking and subsequent response by correctly using coordination and synchronization to break the opponent's initiative and position ourselves with advantage, and as Emperado said, suffocate him with quick and forceful bursts of blows in specific areas and move with dynamic and overwhelming transitions that prevent the aggressor's reaction.

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“M

artial Arts”. We are so accustomed to saying it that we don’t even stop to think about what Art means. We do Martial Arts, speak about Art with capital letters, of the Arts, handicrafts, the artistic and the artists, but would we know how to define its meaning if some indiscreet and curious student (and there are always some) threw such a question at us? Everything artistic is surrounded by a halo of charm and transcendence that is frequently disconcerting and at times turns off those ignorant in the material. This generates a certain elitism frequently poorly understood, an elitism that shouldn’t correspond to any social difference, but rather on the personal level. Art is not a question of status or stock, it is, perhaps, an aristocracy of the spirit; however, the obtuse, closed languages, the ostentation behind what is hidden in the pretentious speeches of the critics, that metalanguage with which they wrap this phenomenon, have distanced it from its true dimension, from its natural space, a space accessible to anyone (not necessarily intellectual!) that approaches it sincerely, with the skin and the five senses open to the experience. For me, Art is the expression of the mystery of the invisible. The invisible, for being such, isn’t to say that it doesn’t exist; nor does it say that all beings who participate in its mystery don’t perceive it. It simply means that it is not in sight, that it remains hidden behind each thing, each Being, in the very make-up of the Universe. Art belongs to the world of mystery to the extent that it is able to surpass restrictive definitions that want to put a value on it in function of aesthetic, philosophical and of course technical recourses. Art is not techniques; these can be the tools with which we approach it, but knowing the Arab alphabet doesn’t necessarily mean that we know how to write in Arabic, and much less that we can write a poem in that language. As in all that concerns mystery, Art is in itself a way of superior consciousness. Penetrating its language is undoubtedly a way of transcending ourselves, of going beyond our perceptive limits and navigating through those beautiful seas where everything is possible, a privilege that

until then was only the assets of the gods. On such a voyage we learn to use creativity, that way of getting something from nothing, or simply of mixing everything, and the final result is new, and of course superior in value to the parts that make it up. The artist is born, but is also made. Born to the extent that we are not equally gifted with the tools of sensitivity and of the necessary strength to first perceive, and later be able to express the mystery of the invisible with the same intensity. However, given that we all contribute to it (in the same way that the drop is part of the ocean), we can perfectly enjoy the expression of others as references on our path, as emergences from our own perception of the mystery. The artist, then, is in some ways a hierophant, an emergent from the collective. They receive what is being emitted with their antennas, “that which inundates the air” at a precise moment, in a specific place, and they are able to express it, re-written through their personal stamp. This exercise occurs not so much as the result of the virtues of the artist as from his defects, despite the fact that the majority of us think the contrary. What is certain is that the artist possesses the ability to express his “feelings”, but these usually feed on his “deficiencies” before his “excesses” as an individual. The artist is frequently an especially unbalanced being, and it is precisely in his effort to reach a certain personal balance that he attains, by using his facets in excess (abilities), a better balance through his expressive work, his struggle to give form to the intense, vital perturbation that continuously alters the natural tendency toward inertia that we all carry within us. The suffering of artists in the act of creation has always been spoken about, but what is certain is that the suffering is previous. However, it is conjured through this same act. This is, of course, like all birth, an event that requires effort, that involves a certain dosage of pain, of consciousness, and of a strange mix of will and abandon. Yet, the end result is not only balancing but especially able to contribute a calm pleasure that has no equal. Whatever the Art in question might be, Art is there in order to serve the artist and not the reverse. The end is not the work, the result, but the path that its realization involves. The true achievement of the artist is within him;

what remains outside of him is the materialized result of his conquest, not the end of it. If, besides, what remains has that rare quality of beauty and is capable of moving others, well… frosting on the cake! In few Arts like in the Martial Arts the result of the conquest is briefer and more fading than our way of expressing ourselves. Like the Arts of Mars, our practices manifest themselves inconveniently, in the immediate, and despite their attending to matters clearly tangible and basic like self-defense, its artistic result is immaterial as in the case of dance or music; we are the very canvas that we paint on. Like in other artistic forms, there are many levels of manifestation, an immensity of formulas to approach the creative and transcendent act of reaching and expressing the mystery. In its highest conceptions, the Martial Arts have the embodiment, significance and strength of a way of life that involves all of our Being, physical, emotional, and mental, in search of the mystery, in the realization of the ultimate Truth. In this sense there is a book that in my opinion marvelously describes this quest and its implications, “Zen and the Art of Archery” (Bungaku Hakusi), by Eugen Herriguel. I would like to finish this

editorial quoting two of his many wonderful paragraphs, full of the deepest meaning of the way of the warrior. I hope that you like them and that they intrigue you so much that you can’t help but read the whole thing, as happened to me, now almost thirty years ago: “The spider ‘dances’ its web without knowing anything about the existence of the flies that will be trapped in it. The fly dancing unconcerned in the sunlight gets caught without knowing what awaits it. Through both, “It” dances and the interior and the exterior are one in this dance. In the same way, the archer hits the target without aiming exteriorly.” “If one feels irresistibly driven toward that goal (supreme freedom)…) he has to walk once again on the path of the Art without artifice. He has to jump back to the origin (and original) so that he lives from the Truth like someone who has integrally identified with it. (…)If he comes out successful from this adventure, then his destiny will be consumed in the confrontation with the non-refracted Truth, the Truth that is above all truths, the amorphous origin of all the origins: the Nothing that is everything, the Nothing that will devour it and from that be born again.”

“The spider ‘dances’ its web without knowing anything about the existence of the flies that will be trapped in it. The fly dancing unconcerned in the sunlight gets caught without knowing what awaits it. Through both, “It” dances and the interior and the exterior are one in this dance. In the same way, the archer hits the target without aiming exteriorly.”

Excerpts from Paul Vunak’s book: Blueprint and Roadmap to Contemporary Jeet Kune Do. The Anatomy of Asymmetrical Violence.

www.vunak.com

Paul Vunak First Blood: The Nature of Fighting Pr esent day misconceptions about Jeet Kune Do are legion: "JKD doesn't really exist" (like I said earlier); "It died with Bruce Lee"; "JKD is a composition of styles"; "JKD is anything that works"; "Bruce Lee created a style that only he could do"; "JKD is a modified form of Wing Chun"; etc., etc. This confusion about Jeet Kune Do is entirely understandable. Its charismatic founder lived a brief, spectacular life that ended suddenly and mysteriously. His most important work, The Tao of Jeet Kune Do, is a collection of unpolished notes published after his death. For several reasons, including the insistence of many on viewing JKD as what Bruce Lee portrayed on screen, his top disciples have been reluctant to publicize the art. Another reason adding to this confusion is that the art is hard to define within the framework of linear logic that most Western people prefer. This linear logic defines various martial arts by variations in their techniques: where the knee is located during a side kick; the formation of the fist in a hand technique (r everse punch, for example, or crane beak, tiger claw, leopard paw, etc.); the natur e of a style's movement, be it linear or circular; the type of stances used.

Paul Vunak

In contrast, Jeet Kune Do defines itself as "using no way a s w a y, n o l i m i t a t i o n a s limitation." For m a n y, particularly those burned in the past by martial arts "mumbojumbo," such a statement is difficult to grasp. I have thus far outlined the pivotal role that personal attributes and their development play in JKD. Now I would like to turn to the other half of the art - how JKD uses those attributes in combat. It is not an accident that throughout this book you will reread the example of a black belt losing to a streetfighter, or a more in experienced f i g h t e r. JKD is not atournament or a ring sport! Its sole purpose is to develop efficiency in fighting. Efficiency not only in one-onone, empty-hand encounters, but also in confrontations involving weapons or multiple opponents. One thus needs to...

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Paul Vunak THE NATURE OF COMBAT A JKD man or woman does not concern him or herself with meeting the average streetfighter or "black belt." Rather, one pictures fighting a crazed Lyle Alzado high on PCP. When one can vividly picture that spectacle, one realizes that a streetlight takes place in all four combat ranges. This image also provides a dose of reality and amovement away from the mentality fostered by the "Billy Jack-type" films. As Bruce Lee observed, “A fight is not usually won by one punch or kick; you must learn to endure... or hire yourself a bodyguard and lead a less aggressive life.” It was with that thought in mind that Lee turned to the formulation of JKD. Between 1964 and 1973, Lee, with the assistance of Dan lnosanto, dissected every fighting art that the two could discover. Out of several hundred systems, Lee selected elements from 26 styles to form the foundation of Jeet Kune Do. On the average, five to- ten percent of any of the 26 arts was utilized in JKD; in certain cases, just training methods or combat theory was used. (As in the case of Western fencing, which lent its concept of the "stop-hit," a simultaneous parry and counter, to JKD's combat philosophy ... and, indeed, to JKD's very name.) Many sincere martial artists attempt, on their own, what they think Bruce Lee did study several styles and pick and choose favorite

Bruce Lee said: "My movement is a result of your movement, my technique is a result of your technique.”

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Paul Vunak techniques from each. Although their impulse might be the same (meaning, an understanding of the incompleteness of most styles), this is not Jeet Kune Do, nor Bruce Lee's approach. Guided by principles of attributes and the realities of combat, JKD requires the instantaneous transition from art to art while fighting. To allow for this the elements of the chosen arts must fit harmoniously together. To use a simple example, Shotokan Karate's chambered fist position (hand on hip) cannot move into Wing Chun trapping techniques with the necessary economy of motion. One does not move arbitrarily from art to art. Rather, one responds with the most efficient attribute (or art) to the everchanging energy, movement, and range of the opponent(s). This is what Lee meant in the statement, "My movement is a result of your movement, my technique is a result of your technique.” To understand how the elements of the selected 26 arts are put together in JKD, one must turn to the concept of range.

THE FOUR RANGES OF COMBAT Regardless of style, there are four combat ranges: kicking range, punching range, trapping range, and grappling range. Most martial artists spend their lives learning techniques that fit one, or sometimes two of these ranges, depending on their art. Regardless of their range of specialization, most martial artists assume they can fight, and finish, an encounter at their chosen range. Given the image already mentioned, of confronting Lyle Alzado on PCP, such an assumption is dangerous. Such an assumption can prove fatal. A few examples illustrate that point. A Tae Kwon Do student is usually taught that legs are stronger than arms. An opponent won't get past his kicks. Thus, the art teaches

Bruce Lee observed: “There is a range in which Western boxing will counter any kicking art. There is a range in which Wing Chun will counter boxing. There is a range where Tai Chi Chuan will counter Wing Chun.”

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Paul Vunak some punching techniques, but heavily emphasizes kicking. When students spar, they usually start out at a long - or kicking - range, throwing bombs at one another. Rarely do they attempt to close the gap, and if they do, they virtually never remain at close range for long. The effect of this type of training is that the student never tests the premise that he can keep the fight at kicking range. What happens to him when the opponent moves in during a real encounter? This criticism is not limited to styles that stress long-range fighting. Wing Chun is an excellent art in the trapping range. On the other hand, if a wrestler were to get the Wing Chun man on the ground, the Wing Chun practitioner is out of his natural environment and at a great disadvantage. Grappling is a common tactic of large and strong attackers. Yet grappling and locking arts, such as Jujutsu and Aikido, are usually based on the assumption that the opponent grabs you first. There are very few Jujutsu schools that kick, box, and then trap to enter into locking/grappling range to apply their specialty techniques. The essential point here is that there is no superior art! All systems of martial art have their strong points and weak points. Bruce Lee observed, "There is a range in which Western boxing will counter any kicking art. There is a range in which Wing Chun will counter boxing. There is a range where Tai Chi Chuan will counter Wing Chun. " In short, Lee selected elements of 26 different arts to give his students an integrated framework that prepared them to fight any opponent at any range. Those who witnessed Lee at any of his closed-door sparring sessions saw this principle in action. Limited by the vocabulary of their time, these witnesses were never

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“Learning to be like Bruce Lee, flowing responsively from one martial art to another in an engagement, sounds a lot simpler than it really is.”

Paul Vunak

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able to find a label for Lee. One moment, he would dance and shuffle at long range ... boxing with his lead foot, hitting the opponent at heretofore unknown angles like an experienced Savate man. If the opponent countered, Lee would bob and weave and throw body shots like a professional boxer. Upon being clocked by the opponent, he would shift into Wing Chun's Jik Chun Choy ("straight blast"), trapping any obstruction, pummeling with a flurry of fists and elbows, and ending the encounter with a Jujutsu-like flip. All of these difficult elements would appear in a "match" that lasted just ten seconds!

LEARNING COMBAT FLOW Learning to be like Bruce Lee, flowing responsively from one martial art to another in an engagement, sounds a lot simpler than it really is. The trainee must first accomplish two things simultaneously: the elements from the 26 styles must be learned, and one's personal attributes must be developed to their fullest. Regarding attributes, consider a basketball player by way of example. He might be able to do all the movements required to perform a slamdunk, but those attributes are useless because he lacks one essential quality - the leg strength to propel him above the rim. Once the student has progressed sufficiently on these two fronts, he moves into a third stage with training drills such as Hubud (Kali energyexchanging drills) and Chi Sao (Wing Chun's "sticking hands" exercise) practice. JKD's Chi Sao differs from its Wing Chun counterpart in that JKD practitioners are not limited to executing Wing Chun techniques only. Any technique from the 26 core arts is allowed. The game of Chi Sao is very different when one or the other partner can use arm or nerve destructions (drawn from Kali), throws, or any other JKD technique. Once the student is able to flow throughout the 26 arts during JKD drills, he is ready for the fourth stage of JKD development, sparring. In sparring, it is imperative that the instructor oversees and regulates the intensity of the match. Egos can flare

Paul Vunak easily. Students need to be shown how to work with each other to create the most conducive environment for flowing through and changing arts in midstream. Once many hours of this type of sparring "flight time" has been logged, the instructor can gradually increase the tempo of the sparring until the students are engaging in full contact with protective equipment. The end result of JKD training is the production of a man who possesses no structure or form. Hence, he possesses all structures, all forms. He is able to adapt to any situation, like water adjusting to the shape of any container. Able, for example, to fill an empty cup.

THE TWENTY-SIX FIGHTING ELEMENTS OF JUN FAN 1. Wing Chun 2. Northern Praying Mantis 3. Southern Praying Mantis 4. Choy Li Fut 5. Tai-Chi Chuan (Wu Family style) 6. Paqua 7. Hsing-I 8. Bak-Hoo Pai (White Crane) Bak-Fu Pai (White Tiger) 9. Eagle Claw 10. Ng Ga Kuen (Five Family System) 11. Ny Ying Ga (Five Animal System) 12. Bak Mei Pai (White Eyebrow) 13. Northern Shaolin 14. Southern Shaolin 15. Bok Pai 16. Law Horn Kuen 17. Chin Na 18. Monkey Style 19. Drunken Style Vunak/AAVM Manual 88 20. Western Fencing (Foil) 21. Western Boxing 22. Western Wrestling 23. Jujutsu 24. Escrima 25. Filipino Sikaran 26. Muay Thai (Thai Boxing)

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Paul Vunak THE ROLE OF KALI Recently there has been a surge of conjecture regarding the evolution of Jeet Kune Do. I do not intend to define JKD here, as that is explored in greater depth elsewhere, but rather to clarify an absurd misconception regarding Kali's role in JKD's evolution. Bruce Lee's original art was Wing Chun. After seeing certain limitations in Wing Chun (or anyone art), the next obvious step was to investigate the principles, concepts, and techniques of various arts. The process of this investigation is the very essence of JKD. In 1964, Dan lnosanto first met Bruce Lee. At that time, Mr. lnosanto already held black belts in several other arts, and was a worldclass martial artist in his own right. Dan's athletic ability was, and is, at an uncommon level. At 145 pounds, and standing 5’ 6” Dan was the leading ground gainer at Wentworth College, running the 100-yard dash in near world-record time, 9.4 seconds. These points all became moot after sparring with Bruce for just a few seconds! Immediately after this first encounter, Dan became Bruce Lee's student. Over the next nine years, both Bruce and Dan literally dissected and synthesized every martial art and philosophy salient to the concept of JKD, street fighting! They absorbed what was useful, rejected what was useless, and added what was specifically their own. Over the next nine-year period. Dan lnosanto remained, with Bruce, the integral catalyst behind the mutual development of the style/concept that is now known as Jeet Kune Do. This procedure began by blending popular arts like Western boxing to the more sublime, less-known styles such as Drunken Monkey, Chin Na, and Bak Mei Pai. There were approximately 26 different styles, which lent themselves to the overall synthesis of JKD.

“Bruce Lee's original art was Wing Chun. After seeing certain limitations in Wing Chun (or anyone art), the next obvious step was to investigate the principles, concepts, and techniques of various arts.”

www.vunak.com

Paul Vunak Of the many highly-skilled students that Bruce Lee taught during his lifetime, only three ever qualified to teach Jeet Kune Do - James Lee (deceased), Ted Wong, and Dan lnosanto. The unspoken and intrinsic credential for Dan lnosanto is embodied in the fact that, after Bruce's departure into film, he was conferred the responsibility of maintaining the true authenticity of JKD. After Bruce Lee's death in 1973, Mr. lnosanto, Bruce's protege, continued to cultivate and refine the original process by which he and Bruce developed Jeet Kune Do. This process is not static; it is dynamic in nature and continues to evolve, as was Bruce's intention. Dan's

contribution greatly improved JKD's efficiency. This fact is agreed upon by anyone who takes the time to objectively compare the differences. There are some who have insinuated otherwise, stating that Kali has diluted JKD. The notion that Dan's integration of Kali (the 27th art) in any way, shape, or form is diluting the essence of JKD is absurd! Could anyone be so naive in their thinking to assume that the addition of another aspect of a functional art makes JKD any less effective? Did art number 13 dilute art number 12? Did art number 25 dilute art number 24? The answer is obvious.

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“After Bruce Lee's death in 1973, Mr. lnosanto, Bruce's protege, continued to cultivate and refine the original process by which he and Bruce developed Jeet Kune Do. This process is not static; it is dynamic in nature and continues to evolve, as was Bruce's intention.”

Angola: African Roots of Brazil's Martial Art Capoeira I have been r eally lucky to travel during the worldwide Covid pandemic. I’ve recently traveled into Africa for different security projects and I was on a mission to teach, as one example. I always try to do my best to study, and while I was in Angola I had met Israeli Karate and former Champion Feras Faur,5th Dan.Feras has been involved in Israeli Jiujutsu and is a long-time student of mine in firearms, security and Krav Maga Kapap. He found his home in Angola a few years back and met with me and with former Israeli commando officer Yosi Aviram and I’ve been following them both to study much about Angola and the land of Africa’s East side.

Sensei on the Road

From learning about the witch ceremony and Juju culture to learning unique-to-the culture survival skillsincluding discoveringwhat to eat that you find in nature. We explored learning how to use anything you find in the field and to appreciate the explorationof the magic of Africa. Using and teaching these skill sets led me to the Favela, the poor neighborhoodwhere we met students that have been training in the Martial art Capoeira that has it’s roots in Angola. I want to be clear that I’m no expert in the art of Capoeira and have no expertise about Africa, but I would love to share with Budo magazine readers some of the magic I met and that was shared with me.

Sensei on the Road Capoeira Angola, is a version of the martial arts that is rarely practiced either in Brazil or in A n g o l a i t s e l f . B u t i t ’s n a m e speaks to the origins of an art that reaches back centuries before people were enslaved and transported from the Southern African coast to South America. It was developed in what is now Brazil using rhythms and call-and-response singing found in the African traditions. The inclusion of instruments was crucial for distracting onlookers.

“Capoeira Angola has a ritualistic feel and the movements are predominantly low to the ground, with the focus on precision. This is why the music is slower than in the dominant version, known as Regional. The difference between Capoeira Angola and Capoeira Regional is subtle, but Capoeira Angola includes more instruments and its practitioners feel it is more spiritual.”

African influence downplayed Capoeira Angola has a ritualistic feel and the movements are predominantly low to the ground, with the focus on precision. This is why the music is slower than in the dominant version, known as Regional. The difference between Capoeira Angola and Capoeira Regional is subtle, but Capoeira Angola includes more instruments and its practitioners feel it is more spiritual. I sometimes feel a little angry when I think about how Angola's contributions to Capoeira get dismissed. The African influence was deliberately downplayed, partly because of racism. “It was recognized as a part of African culture and labeled as aggressive because of the slave association” In the mid-16th Century, while working in the fields, slaves created what later became Brazil's earliest form of Capoeira, disguising fighting techniques as folk dancing. Following the abolition of slavery in Brazil in 1888, the government banned Capoeira, fearing its use could make any revolt by freed slaves more difficult to overcome.

Sensei on the Road It went underground, and many black people continued to practice what is now recognized as Capoeira Angola in hidden spaces, using nicknames to protect their identity. Around 1930, Reis Machado, better known as Mestre Bimba, developed a way of teaching Capoeira that made it easier to learn. After persuading the authorities about the cultural value of the martial art, the ban was lifted, and Mestre Bimba opened the first Capoeira school in Brazil. Capoeira was still looked down upon however, especially by the upper class Brazilians. In response, Mestre Bimba set new standards - he introduced clean white uniforms, required students to show good posture and brought in a system of grading.

Sensei on the Road As a result, Capoeira began to attract a new audience that became interested in practicing Capoeira indoors. This was the beginning of Capoeira Regional. As some practitioners continued to follow the older form, they agreed on the name Capoeira Angola to differentiate it, but over time it was marginalized and largely forgotten. Regional has a faster pace than Capoeira Angola. Mestre Bimba also simplified the use of instruments relying on only the Pandeiro (hand frame drum) and one Berimbau (bowed instrument.)

'It Relieves my anger' Despite the name, the claim that Capoeira originated in what is now Angola remains a matter of speculation, as the slaves that left the Luanda docks came from across Southern and Central Africa.

Manuel dos Reis Machado or Mesta Bimba as he was better known, was born on 23 November, 1900 in Salvador, in the home country of Capoeira, Brazil. The youngest of 25 children, his first job was as a carpenter on the docks where he developed his physical strength; by the time he was 18, he could carry 120 kg. He learned traditional Capoeira (known as Angola) from a Mestre called Betinho and went on to teach it for ten years before he developed his own style, which he called Regional. © Copyright 2022 Avi Nardia w/Tim Boehlert http://avinardiablog.com/ http://defendublog.com

Ref.: • KfRISAN-5

Master Frisan starts a new series of DVDs on the best Kyusho points for different situations. In this first installment, of 2 volumes, we focus the study on the defense against the main arm attacks: grabs, thrusts and punches. We will analyze the solutions against grabs and thrusts to understand the basic principles of Kyusho and then we will analyze the solutions against direct fist strikes such as the Jab and the Cross, and circular strikes such as the hook. Dermatome stimuli, pressure points and various exercises are discussed in order to train and learn. The exercises are performed by M° Gianluca Frisan, and his instructors from CSEN / Kyusho Institute because, in order to master Kyusho, it is necessary to train with as many people as possible, with different bodies, and with different reactions and sensitivities. DVD 1: Intro & Medical Informations, arm points, leg points, body points, neck and head points, Kyusho Jitsu Grab Drills Points, Conclusion Kyusho Jitsu Nerve Stimulation. DVD 2: Kyusho Jitsu Push Drills Points, Kyusho Jitsu Punch Informations, Kyusho Straight Punch Drills Points, Kyusho Hook Punch Drills Points, Conclusion Kyusho Jitsu Nerve Stimulation.

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Ref.: • KfRISAN-6

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Hagumo - Secrets in the 20th Century Today’s theme responds to the request of masters and schools who preserve their secrets and cultivate their traditions. No area or activity are specified here. The text is merely informative. In various articles written by different masters, we can see that for the Shizen, especially those who lived in the 20th century, secrecy was synonymous with strength. They never forgave those who, out of their own free will and without the consent of the others, brought such information to light. Well then, let's understand how they acted in the face of the adversities created by members from their own community - distant or dissident "Shizen" people -, and how they tried, through the teachings, to prepare the new generations.

hen someone was invited to leave the institutions maintained by the Shizen in the 20th century, it was known that disaffection could provoke, as in all human areas of relationship, fears, sorrows and frustrations, as well as opposing movements. A small part of this portion tried to reveal knowledge and create parallel paths as a form of competition. They classified these people as Gorutoro.

Gorutoro is a form of expression that indicates that knowledge is only revealed by people who do not know its essences in depth. They said that it was like if an amateur, without anatomical knowledge, wanted to operate on the brain of a child who is alive at a children's party, where the fun should consist of clowns, magicians, hubbub... The idea of the "extreme" - for the Shizen - serves to draw attention to the achievement. This phrase was used a lot in group classes, perhaps because many masters were

doctors by profession. They were divided into two dissonant classes: • Morutore: expression that indicates that the desire of “being” is greater than that of “having”. It's when the “ego” feels an urge to shine, to attract attention. His journey is short, and his words are nothing more than imaginative speculations. The masters carefully observed people who acted like this.

• Saomutoro: Expression that indicates that someone is overshadowed by his or her own will, his or her desire. The person ignores the reasons that promote good understanding, behavior. Term widely used in cases of adversaries and disaffected who leak information. However, the OITA (wise men) warned that everything that represents one more step towards the benefit of our Spirit (here in the sense of conscience, lucidity) requires a

“The OITA intervenes: Social life is reduced to a struggle between equals, between people who are equally unfair, between people who are equally asleep. They used the term "sleepers" for all those who are unable to look at their own lives.”

lot of work and struggle on our part, and that we must analyze well all the "ready-made" things that are offered to us. If we begin by analyzing the concrete basis of life, its foundations in the world of matter, its most realistic, most accessible and most understandable aspects, we will see that limitations and frustrations are aspects of the "axes of conditions"; every action has its condition and also its consequence.

Shizen people knew well (for they lived it and felt it firsthand) that life crushes those who don't understand it. They had always observed that the crushing of the less fortunate, the poor, as well as their expulsion from the order of the victors, anytime and anywhere, is a panorama that, if well observed, it draws the vision of an established order, imposed for the exclusive benefit of the so-called winners. It's not surprising that those

Traditions of Japan winners, from ancient times, had structured a floating position for the less fortunate. The OITA intervenes: Social life is reduced to a struggle between equals, between people who are equally unfair, between people who are equally asleep. They used the term "sleepers" for all those who are unable to look at their own lives. For the masters, a correct performance means an attempt to stabilize the phase inserted in this cycle and, to that end, they have taught: 1. The phases are ephemeral and, therefore, cannot be considered a corpse on which we can, at our will, carry out our mutilating experiments; nor a material object, to

which we can substitute parts and adapt to other purposes. Phases, like cycles, are a living organism and should be treated as such. The Fullness of the "Whole" affects us when we are empty, full of wind, full of nothing! However, nothingness should be seen as an opportunity to look at oneself intelligently. 2. Instinct and intelligence are so closely related that they are often confused. Instinct does not reason; reason allows choosing and gives man free will. All wisdom consists in

emptying the full and filling the empty; not to see the Whole of the Essence, but to be invaded by the Whole. 3. Reason begins along with self-awareness. 4. Infinite generates, within "Nothing", the "Finite", or the "Something". He who sees only the beautiful in the beautiful, and the good in the good, resurfaces in arrogance and ignorance; he is stagnant, he is asleep... It’s simple, that’s moving at one end: there’s no balance. To be in balance, man must see the beautiful and the ugly, the

good and the bad, as two complementary antitheses, which are integrated into the great synthesis, without diluting in it. If the beautiful and the ugly, the good and the bad, were two opposite and non-complementary antitheses, they could never be integrated into a harmonious synthesis, made of unity in diversity. 5. The sage always disappears behind his works; he is anonymous; his invisible absence fills all visible presences. He is active in passivity. Life has no beginning or end, but

living beings have a beginning and an end. The "I" is eternally silent, so it accomplishes all mighty things. It is a dynamic silence, like that of the sage, who becomes aware in silence. 6. When the ego intends to do more than man, man allows imbalance, and that's infallible! In the face of limitations and frustrations, imbalance is man’s unhappiness. Man must be endowed in everything with a balance that makes him act from the inside out.

“If the beautiful and the ugly, the good and the bad, were two opposite and non-complementary antitheses, they could never be integrated into a harmonious synthesis, made of unity in diversity.”

Who were the Igurosao? Text dedicated to Roberto Miura, Masamoto Ishii and others. All cultures are expressly full of Igurosao, which are just outcasts or those marginalized from society, and excluded from social coexistence. For the ancient, someone who has become soiled and remains unclean. According to a social study, they could be called disqualified. In different classes and in different conversations with former masters, they said that until the 20th century the Igurosao lived in isolation and since they had no resources, they joined other cultures. In the 20th century, many Igurosao felt aggrieved. It was known as a period of many changes and sadness. Opinions vary, and the possible contradiction, widely held by some, shows that lack of knowledge and understanding was the main cause of the clashes. The stratification of this period is only one of the most recent - 1984 / 1993, under which there are older and deeper layers. Within the master-student reality, which is the point of interest of this text and the reason for its dedication to the above-mentioned people (former Shidoshi and Igurosao), I can point out some interesting observations. The late Masa used to say that three can be the maximum causes that condemn a person to Igurosao:

• Wuroko: When acts, attitudes, disrespect, put a cause, a reason, a predecessor, a parent..., in a bad position. When you’re embarrassed in public. • Dogowu: When attitudes of revolt, jealousy, etc., promote chaos, disorder... • Komogowu: When attitudes go in the opposite direction: betrayal. Grandmaster Yorike San, who was one of the greats who was responsible at the time for the formation of our personality and education, used to say: “...It's no coincidence that someone appears in your life as your mentor, your master, your teacher...” At this moment, Takeo Nagaki interrupts: “...It's very common that we are out of this reality and, without a doubt, this path will lead us to a path of illusion, of self-deception... Each one, in due time, will arrive, little by little, to his or her own

Traditions of Japan understanding... Either by maturity or by a change in their own perception.” All these ways of thinking have always influenced me; especially if we are able to do the right thing when no one is looking. However, I was able to witness that many masters have stopped teaching. Not only in the way of E-bunto, but also in many Eastern followers, I could see that, as a reaction to all this, much has been mutilated in the objectivity of the real understanding of the teachings; (3) everyone wants to do it his or her own way! What time has taught me is that, however much the end may be to reach an equal truth for all, it is evident that knowledge gains in depth and potential, not always at hand, different measures for each one Araki Sensei said: "...what is not understood is that when we go from the outside world to the inside we alter our perception because there is no acceptance. In the master-student relationship, the truth is not produced by degrading the first, but by elevating the second; that's how you gain continuity."

“However, I was able to witness that many masters have stopped teaching. Not only in the way of E-bunto, but also in many Eastern followers, I could see that, as a reaction to all this, much has been mutilated in the objectivity of the real understanding of the teachings.”

Life takes curious paths that teach us that, although free will exists, it occurs on both sides. Which in turn means that, in such a relationship, it's natural that appreciations change as we ascend, because the more the personal “I” wakes up and moves, the more it defines good from bad, right from wrong, individuality from cooperation. In the West, individualism motivated by self-interest is common. As much as this is a palpable truth, the way must remain simple in the master's eyes, since the path is within. We must remember that the "I" that manifests itself through arrogance is a vehicle relative to what learning (whatever it is) really means, which is still evolving in this very arrogance. On the other hand, this is not the greatest danger. In the master-student relationship, ignorance silences the truth, suffocated in the dense environment that does not allow transparency. On the contrary, the antidote is found in lucidity, which coordinates, reorganizes, harmonizes and, in this way, makes the teacher the person who reabsorbs the divergences and makes more evident the reality of his true path, whether alone or accompanied.

Thus it was taught by the Oita 1. The truth stands alone and is simple. But to see everything, in its unity and simplicity, it's important to know how to reach its height. We cannot try to bring it down to our individual level without distorting and falsifying it. 2. No matter how correct the teaching might be, according to the students' personal specific differentiation, each intellectual type will imprint on it the particular notes of his or her personality, and will mold, transform and adapt it to his or her own self and particular way of thinking, as well as to his or her time. 3. Teaching is only the basis of transmission and reception, and for it to occur, both ends - sender and receiver - must be tuned up, that is, they must harmonize according to the same vibratory rhythm. As we have seen, the communion of vibrations is necessary. If they are similar, they can match and walk together; if they are different, there will be no resonance and therefore no harmony or communication.

“In the face of limitations and frustrations, imbalance is man’s unhappiness. Man must be endowed in everything with a balance that makes him act from the inside out.”

Gracie Jiu Jitsu “Losing a fight is not losing the whole battle.”

Gracie Intermediate Before beginning the course The question will be: Are you a bulldozer or will you be “bulldozered”? Most of us have experienced both sides of the “game”! Some days I felt like my training partners had made it their business to torment me and wanted to give me all their “love and affection”. “Hey Franco, be careful! Use technique, not strength!”, they advised me, but it was exactly the lack of technique, the lack of knowledge, that made me use all my muscle power in that initial phase... later experience makes us whiter.

Gracie Jiu Jitsu n the first lessons, one of the topics is “how to escape from the mount position”. At my first Gracie Jiu-Jitsu lesson, the young man who sat on top of me and controlled me with my back on the floor, was a likeable boy who, in my opinion, had also been training for a few years. At that time, I was fit and felt ready to fight! I had done a lot of Muay Thai boxing under Ajarn Chai Sirisute and trained every day, including weightlifting and a lot of jogging. I never imagined it would be so hard to get out of that ground position, but it was! After that first day, I decided to join Gracie Jiu-Jitsu, not only because I realized what I had been missing, but also because I really liked the way the people trained together. It was much more than “just” martial arts training; I felt like I belonged to a “new” kind of “tribe”.

This is the BEGINNING, not the end! One thing I soon realized was the “application of speed” in Gracie JiuJitsu... because nothing went fast, or rather “lost”. On the Tatame some people always try to find so called “short cuts”, but in Jiu-Jitsu they are an absolute killer. There is no reason to want to be fast and waste your energy. Energy is the key! I always say to stay calm, and even if you were in a worse position, try to breathe regularly and relax. The world will not end if you are forced to “knock off” or give up. Each time we will learn something new, and each moment will help us to get closer to the goal... Losing a fight is not losing the whole battle.

Gracie Jiu Jitsu POSITION before submission, or is it the other way around? Indeed, we are all in the same boat and we are all cooking with water! That's why we should focus on the details. We all want to make the opponent “tap”; therefore submissions (finishing techniques like chokes and locks) are important to know, but if you don't control or dominate the opponent properly, it is very difficult to force the opponent to submit. However, in Gracie Jiu-Jitsu there is also this “attraction” to move from one position to the next, to “rush” from one point to the next, because this gives the feeling of “flow” in the game. But this is more of a “feeling” and not reality, because in a street fight it can be very dangerous to want to move from one position to the next when it is not necessary. We in Gracie Jiu-Jitsu strongly believe in “first position then submission”. If you are interested in BJJ sports competition and participate in tournaments and championships, it may be different, because the goal is not to survive an attack on the street, but to collect points for victory. In a street fight, in Jiu-Jitsu, prefer the opponent to lose his energy, not us, so sometimes it is better to stay on a sidecontrol (for example) than to try to go straight to the mount position, where I would gain extra points in a BJJ match. On the other hand, if I stay on side-control in a self-defense situation and control the opponent properly - making him expend his energy, I am guaranteed to have a better chance of finding an efficient finish to end the fight.

“In a street fight, in Jiu-Jitsu, prefer the opponent to lose his energy, not us, so sometimes it is better to stay on a side-control (for example) than to try to go straight to the mount position, where I would gain extra points in a BJJ match.”

Three basic PRINCIPLES cover half of your Jiu-Jitsu! Based on the teachings of my Gracie Jiu-Jitsu masters, Pedro Hemetério and Carley Gracie, Grandmaster Hélio Gracie, modified several techniques and added new tactics into Jiu-Jitsu, from training with his older brothers Carlos and George. The techniques of Grandmaster Carlos Gracie (father of Master Carley), I believe I understood, were not quite as refined, but still very effective. But Grand Master Hélio understood the need to adapt the techniques so that they were accessible to more students. I believe that today this is almost normal: one tries to adapt the techniques to the student and not the other way around, which again was less the case back then. Another important aspect is that the Vale-Tudo fighters (traditional MMA/mixed martial arts fights) of the Gracie family at that time made an important contribution in the development of the family style at that time. The numerous ValeTudo fights against different fighting styles and systems and different fighters, from Capoeira, Boxing, Karate, Kickboxing and Wrestling, “forced” the masters of the Gracie System to have their techniques always up to date; this was the beginning of this self-defense method, which today is certainly one of the most efficient styles in the whole world. Even in the land of the rising sun (Japan), the motherland of Ju-Jutsu or Jiu-Jitsu (no matter how you want to write it), this was already recognized at that time. In the 40's and 50's Japan sent their top fighters, from the most famous schools like Kodokan and Budokan, to compete against the Gracies. But even the Judo champion Kimura, who fought against Master Hélio - had not (really) won the fight. This challenge was originally supposed to last only a few minutes, wrote the numerous journalists after interviewing Master Kimura upon his arrival in Brazil. But to his (Kimura's) surprise, the fight against Hélio lasted

Gracie Jiu Jitsu

“Energy is the key! I always say to stay calm, and even if you were in a worse position, try to breathe regularly and relax.”

Gracie Jiu Jitsu over half an hour, and although Kimura had the Brazilian champion in a shoulder-lock, Hélio did not give up. The worldwide press now announced, “...now it is definitely clear that the art of Jiu-Jitsu did not belong only to the Japanese!” To properly apply our techniques, one must become familiar with the three basic principles, which are as follows: Control, Timing and Precision. For the term control, Grandmaster Pedro often used the word patience, because he wanted to be sure that no unnecessary movements should be made. As soon as the opponent starts to waste his physical strength, you have better chances if you master these three principles. Smarter fighters have developed a game strategy; they try to lure their opponents into their traps, this is often called “giving sugar to the donkey”! To be at the top of the food chain, in my opinion, you should not have “favored” or “less favored” positions.... it is best to be good in all areas, so that one remains flexible and adaptable.

If you are doing Randori (Jap. free practice) with someone even more inexperienced than you are, then you can try to raise the use of your own energy level, very slowly. You start with only 10 percent of the energy, and then slowly increase the level over the next days, weeks, and months to 20, 30, 40 and even 50 percent. In addition, I always motivate my members to talk to their training partner after each Randori. These inputs are valuable for the next Randori and for upcoming trainings. I do not believe that it is necessary to roll hard (spar) at every training session. It depends on how the members trained during the “technical” part of the exercise. Sometimes during the technical part of the training, a light Randori takes place, and therefore additional sparring is sometimes even counterproductive... but that depends on who is on the Tatame.

“To properly apply our techniques, one must become familiar with the three basic principles, which are as follows: Control, Timing and Precision.”

Gracie Jiu Jitsu During my last visit to the beautiful and sunny Greek coastal city of Kalamata, visiting the Spanidis brothers (Vasilis and Nikos) at the Ultimate Training Academy (UTA) - one of our excellent Gracie Jiu-Jitsu partner schools, most of the seminar participants were ready to compete in the national BJJ championships the next day. At the seminar, some of them asked me if I could share some competition techniques with them.... I explained to them that I would be very happy to do so, but even if I showed them my most successful competition techniques on that eve of the championship, these would not guarantee them a victory. However, what I wanted to share with the athletes was much more important to me, which was the “mental” preparation. Whether you are preparing for competition, or training for selfdefense, Jiu-Jitsu also helps us prepare mentally. Even if you only use 10 or 20 percent of your energy in training, mentally you must be there 100 percent. That's what makes Gracie Jiu-Jitsu so effective, understanding how we can connect body and mind. It may take some time before we can master this. But when you master it, you reach a completely different technical level, that every master and top athlete knows quite well. But you should not think that when you reach this stage, it will last forever if you do not continue to work on yourself. That is why Gracie Jiu-Jitsu is a lifestyle and not just a martial art or self-defense system.

“Whether you are preparing for competition, or training for self-defense, Jiu-Jitsu also helps us prepare mentally.”

Gracie Jiu Jitsu Pay attention to the DETAILS and not the whole! How would you feel if you went to a restaurant and ate an entire pizza in at once? Most likely, that would be the last pizza in your life.... that's like in Jiu-Jitsu! Just like you must cut a pizza into small slices, digestible pieces to enjoy it properly, you must learn JiuJitsu. Maybe you must take a break in between and have a glass of water or wine. Jiu-Jitsu also takes time, and you must take it. At my academy, I don't mind if members take a short break at the edge of the mat to recover and regain their strength. Everyone has a different way of learning, their own rhythm and receptivity. I appreciate it much more when you come to training regularly and with joy. You can't be equally good every day and nobody demands that. No one else, like ourselves, can give us the best motivation to go to training. I fully accept that my Jiu-Jitsu is not for everyone, but everyone gets the same attention from me; in the end, everyone decides for themselves how far he/she wants to go with it. Next month we'll talk more about our new DVD Gracie Intermediate... So stay tuned and as always, keep it real! www.graciejiujitsu.eu

“No one else, like ourselves, can give us the best motivation to go to training. I fully accept that my Jiu-Jitsu is not for everyone, but everyone gets the same attention from me.”

Different times, different cultures and different parts of the world, yet all share certain universal fighting patterns and movements. Gladius Signum is the result of many years of study and practice in different combat systems, both melee and armed confrontation. It was born out of the need to have a coherent system adapted to today's needs, covering the broad spectrum of situations in which both civilians and security forces can be involved. Developed from highly tested and functional systems, Gladius Signum collects, creates and unites the best of each one to make them available to the plaintiff with a clear objective, efficiency in the face of hostile aggression. At the same time, it is subdivided into different branches, to provide training only for what is considered necessary for the student. From the hand of its creators, Sergio Verdeguer and Pedro Muñoz, we will study in detail the eliminations, precombat, empty hand vs knife, free confrontation, transitions armed hand to empty hand, combat applications, types of knife grip and its uses and different types of knife. A coherent and adaptable system, following both behavioral patterns, biomechanics and universal principles of combat.

Ref.: • GLADIUS-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

I am Gianluca Frisan, National Referent of the Kyusho CSEN and European Reference of the Kyusho Institute, I welcome you to the new Kyusho Breakdown DVD series. First of all, I want to thank my Master Mark Kline, founder of the Kyusho Institute, an international Kyusho organization, for all the teachings that he has given me since 1997 and continues to give me. Much of what we will discuss today is the result of my training with GM Mark Kline. So thanks again! Bunkai means Analysis, and we will analyze in the first DVD of this series, a “basic” movement, the Gedan Barai, also called “lower block", a movement that is found in almost every Kata of every Karate style. We will see the applications of our Kyusho CSEN / Kyusho Institute program, analyzing them through the knowledge of Kyusho, bearing in mind that the objective is not that of sports but personal defense. When a form, a Kata, is purely aesthetic, it has no value for your personal defense. Each movement must have a deep meaning to you, in fact at least 3. The same movement can be done differently, depending on what I am currently visualizing, that is, the actual action that I am experiencing while practicing the form. Only in this way will this Kata be alive and real, thus turning into a superior and useful form of training.

Ref.: • KfRISAN4 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

Avi Nardia begins a new series of works focused on CQB and high-risk situations. Some can be good shooters but bad fighters and it's preferable to develop the fighting spirit, not only teaching how to be good shooters, but also to handle aggressive situations to face reality and violence. To achieve these principles, acting with determination and confidence is essential. This first work explains in detail the regulations on the handling of the weapon, holstering and drawing the gun, ways of grasping the gun, loading, hand changes, changing magazines, one and two-handed work, covering and concealing yourself, shooting with precision while you are on the move, and shifting quickly and safely in conflict areas managing them proactively, not reactively. Avi Nardia Kapap Combatives takes us to the next level in realistic self defense.

Ref.: • kapap-11

ORDERS: Budo international.com

Southpaw Stance Left-handed Fighters One can argue that left-handedness is a phenomena to which science is still trying to find its cause. It is estimated that there are around 10-14% of left-handed people in today's world, men being double in number than women. Science hasn't yet found the cause that makes a person left-handed, i.e. we still don't know what makes a person to be born left-handed or right-handed. Some research points to an anomaly in brain structure, whereas some other research and theories talk about genetic inheritance as well as the influence of the hormone testosterone. This would explain why there are so many more lefthanded men in comparison to women. Recently, in 2007, scientists from Oxford University have identified the gene which rises the chances of a person to become left-handed. Many scientists have oriented towards brain research and have found that there are significant differences in brain anatomy between left and righthanded people. Although we use both brain functions in everyday life, one side of our brain is still more dominant than the other. It has been proven that right-handed people's left side of the brain is more dominant, with centers that control speech and language. On the other hand, the right side of the brain has more control over our emotions. In lefthanded people, this division is reversed. Also, in lefthanded individuals, both brain hemispheres are equally developed, in comparison to right-handed individuals. This allows them a quicker transfer of information between hemispheres. Also, the excess fibers are an advantage that permits left-handed persons everyday adjustment to the world of righthanded people.

Martial Arts significantly larger number of neural fibers in the brains of left-handed people is responsible for a quicker transfer of information between brain hemispheres, which is the reason behind better spatial orientation and a greater success in math, art, architecture. Also, if a left-handed person needs to perform a task with his or her right hand, he or she will do it better than a right-handed person would with his or her left hand (e.g. writing). Left-handed people have a totally different approach to problem solving than their right-handed peers and show enhanced abilities in divergent thinking, i.e. finding different solutions to the same problem (thanks to a better intuition and a greater diversity in ideas). Research has shown a larger sensibility among right-handed persons to their right side, while left-handed persons are equally sensitive to both sides of their bodies. The right hand is a bit larger and stronger in right-handed people, whereas, in left-handed individuals, both hands are equally developed.

Mothers that are over 40 years of age during pregnancy have a greater chance to give birth to a baby who will become lefthanded. The chances for this to happen are 28% higher than in women who are in their 20's. Interestingly, as many as 90% of babies suck the thumb of their dominant hand while still in their mother's womb so the ultrasound can also give you an idea of what the baby will be like once it is born. As already stated, the connections between the left and right side of the brain are faster among left-handed people. This means that information is transmitted in a faster manner which makes left-handed people more efficient in processing a larger amount of information that are emitted through both sides of the brain. This is one of the main reasons why various research has shown a large rate of left-handed persons among professional athletes, especially in one-onone sports, i.e. sports that include two opponents such as tennis, table tennis, baseball, martial arts or fencing.

“Some of the greatest thinkers in the history of humankind were left-handed, for example, Nikola Tesla, Albert Einstein, Aristotle, Marie Curie, Leonardo da Vinci, Michelangelo, Beethoven, Picasso, and many other.”

Martial Arts Research has proven how visual information received by the sportsman (fighter or player) is processed by the right brain hemisphere. This is why information, in case the athlete is left-handed, travels faster to the brain center that is in charge of motor skills in as much as 20 to 30 milliseconds. Thanks to these better spatial skills and a quicker motor skill reaction, lefthanded persons are more successful in martial arts. So, the advantage or left-handed persons in martial arts are both physiological and tactical. The reason being a faster connection between the left and right side of the brain hemispheres and, simultaneously, a more frequent usage of both brain hemispheres thanks to which they are, in addition to a better spatial assessment, capable of thinking and reacting faster. Also, left-handed people are extremely adapted to those who are right-handed because they constantly come across them. In comparison, right-handed people adapt much more difficultly to their left-handed opponents. Sportsmen whose left hand is more dominant present a much bigger threat because of their "reversed” body stance. In all sports where athletes face each other, left-handed ones have a significant advantage so the same goes for martial arts. Their abilities are best seen in sports where a very quick reaction is necessary to confuse the opponent who is used to fight a right-handed person. The reason is simply because right-handed athletes are used to fighting right-handed opponents. To simplify, a left-handed athlete is used to right-handed opponents and has frequently had the chance to fight them and has also trained among them. On the other hand, right-handed athletes rarely have the chance to train with or fight against a left-handed peer and this is where their shortcomings are best seen. So, when faced with a left-handed opponent, a surprise element comes into play which is an advantage for the left-handed person. A left-handed fighter leads his attack

with his right hand and his fighting tactics are developed by using the right side of his body. He does this so he can give a stronger, faster and a more precise punch with his left hand which, in turn, confuses the right-handed fighter unadapted to this style of combat. Right-handed athletes develop their fighting tactics and punches with the left side of their bodies so they can hit more precisely and strongly with their right hand (after the left hand, they cross their punch with their right hand) so fighting against a left-handed opponent is confusing for them. These left-handed advantages have been spotted a very long time ago so, more than 3000 years ago, a fighter named Ehud won and killed the evil Moabite King Eglon which was described in the Bible. According to the legend, Ehud came from the Benjamin tribe for which some biblical experts believed was trained by a warrior squad to use their left hands. Also, according to a legend, the Roman Emperor Commodus loved to fight in the Roman arena where one special characteristic helped him to be invincible- he was left-handed. Most martial arts fighters have used 90% of their time fighting right-handed opponents. This means that they will be very surprised to get punched from the other side, which is something they do not expect to happen. This advantage has helped left-handed fighters to be a bit more dominant in martial arts (55%) in comparison to their right-handed peers. First in boxing and, a bit later on, in other martial arts sports, the stance in which a left-handed fighter sets his right hand and leg forward, leading the fight with his right hand and then turning his right hip and punching with his left dominant hand is called the "southpaw stance”. According to some legends, a 19th century fighter called William "Bendigo” Thompson is responsible for introducing the southpaw stance. Some other boxing experts consider the left-handed boxer Al McCoy to

Martial Arts

“Research has proven how visual information received by the sportsman (fighter or player) is processed by the right brain hemisphere. This is why information, in case the athlete is lefthanded, travels faster to the brain center that is in charge of motor skills in as much as 20 to 30 milliseconds”

be responsible for endorsing the stance. He became a world champion in 1910 and his nickname was Southpaw. According to some legends, the very name comes from baseball. Some sports historians claim that the term was coined because of the baseball pitch orientation (the pitch, i.e. its lines are oriented towards the west) so that the Sun wouldn't shine in the players' eyes. This is why the left-handed pitcher has his left hand turned towards the south. In the beginning, the term "southpaw stance” denoted something unusual and was known to be used in sports since 1840. The advantages of left-handed fighters aren't expressed only among boxers (or in savate-boxing, kickboxing, Chinese boxing, etc.), but also in karate, tae kwon do, kung fu, capoeira as well in wrestling, judo, ju jitsu, aikido, MMA, fencing and other martial arts disciplines. The technique of performing certain grips is a bit different in left-handed fighters, their creativity is somewhat larger and their ability to adapt in using their right or left hand needs to be significantly bigger. This is why some left-handed fighters' techniques (certain punches, various punching combinations, throws, levers, pinning their opponent to the ground or choking) can greatly confuse a righthanded athlete. As said before, when a right-handed fighter is faced with a left-handed one, there is an element of surprise. The surprise is even greater if a left-handed fighter started the fight in a classic righthanded stance (his left hand and foot are set forward) and then, during the match, he switches to a southpaw stance, i.e. makes a switch-hitter. The term "switch-hitter” is used for those fighters who deliberately switch from a right-handed stance to a left-handed stance or vice versa, in order to confuse their opponents during combat. Left-handed children who were forced by their parents or teachers to write with their right hands has caused a large number of (originally) left-handed people to use both their right and left hand efficiently. This is especially present in Asia, i.e. among the Chinese, the Koreans and the Japanese because their script (because of its characteristics) cannot be written by using the left hand. This is why there are only 2% of left-handed people registered in China, i.e. only this amount of people have declared to be left-handed (they eat by using their left hand),

while in Japan, this percentage is a bit over 4%. According to this statistics where, allegedly, there aren't more than 2-4% of left-handed people in Asia (which is impossible), we shouldn't be surprised that a term for left-handed fighters isn't specified in Eastern martial arts, in comparison to the "southpaw stance”. However, people cannot be simply divided into two homogeneous groups (left and right-handed ones). It is more of a continuum on which ends there are two smaller groups of exclusively left and right-handed fighters. Most of us are somewhere in between, having a stronger or weaker predisposition to use our right hand.

Martial Arts Left-footed fighters In most Western civilizations, cars are made to fit righthanded people. We can add musical instruments, various tools, ITM machines, computers and even scissors to this list. Left-handed people were born in a right-handed world so the majority is well-adapted to it because the brain simply functions that way- it gets used to anything. However, statistics tells us that left-handed people are more prone to injuries and this is so probably because they live in a right-handed world. The clumsiness of left-handed people in a world designed for right-handed ones is in stark

contrast with their larger success in individual sports such as tennis, baseball, fencing or martial arts. Unfortunately, left-handedness has been considered as an undesirable phenomena for centuries, sometimes even as something pathological. Even the Ancient Romans translated the word "sinister” not just as "left”, but also as "bad” and birds that flew in from the left side were a premonition of bad luck. In India and Indonesia, holding cutlery with your left hand is considered to be rude. In other Asian countries, left-handedness is thought of as something undesirable. However, not all right-handed people are completely right-handed. We all have our "left” and "right”

moments. This is why it is not so simple to divide people into only two groups. They might perform some actions by using one hand and other actions by using the other. Moreover, some actions such as writing or eating, i.e. using cutlery are under a strong social pressure during the process learning and perfecting these skills, even today. Even in countries that support left-handedness such as the USA or the Netherlands, you cannot find a person that shakes his or her hand with their left hand. We live in a righthanded world and we are all, to some extent, included in this game- we know which hand to offer in a handshake, which hand to lift when swearing in front of a judge, where to place the guest of honor, etc. But are you really sure that

you are left or right-handed? If you aren't, here are a few tricks that you can try out. Wink- if you are left-handed, you will instinctively do this with your left eye. Clap your handsif you are left-handed, the upper hand will be your left one. Intertwine your fingers- the upper thumb will belong to your left hand. Lean your head to your shoulder- if you have automatically done this to your left side, chances are you are left-handed. However, this doesn't have to be correct because the real truth is buried deep inside your brain. It is commonly thought that left-handed people use their left hand and the left side of their bodies as dominant and, if they write with it, we call them "left-handed”. But there is a slight confusion surrounding the terms. We can actually

“In comparison, right-handed people adapt much more difficultly to their left-handed opponents.”

Martial Arts discuss left and right-handed as well as left and right-footed people because they are all distinctive according to those parts of their bodies. A "lefty” is someone who is lefthanded, left-footed, left-eyed and left-eared. But a lefthanded person doesn't have to be a true lefty, i.e. he or she doesn't have to be left-footed or left-eared. Those are not the same terms. The same goes for right-handed people. We can identify a left-eyed person if he or she looks through a keyhole by closing his or her right eye. A left-eared person will try to hear remote sounds by unconsciously leaning or twisting his or her head towards the sound with their left ear. Also, he or she will place the phone on his or her left ear. However, in martial arts, we are most interested in leftfooted persons.

A left-footed person is one who kicks the football with his or her left leg. Also, in combat, such a person will kick his or her opponent with his or her left leg because it is more dominant. Various scientific research have shown that there are approx. 10 to 14% of left-handed people in the world and as many as 30% of left-footed people which shows that there is no direct link between these two characteristics. Also, research has shown that it isn't easy to call a person a true lefty or a righty because people can be either true or disharmonious lefties. The latter use their left hand for writing but will in unplanned situations wink with their right eye, cross their right leg over their left leg, wave with their right hand or, in martial arts, kick their opponent with their right (dominant) leg. The same can be valid for righties.

However, true lefties are significantly smaller in number and there are many more true righties. This is why we cannot claim that left-handed people are simply functioning in contrast or contrary to left-handed people. It is more correct to say that these persons have different brain functioning, no matter what the reason for it may be. Because of this, disharmonious lefties (whether they are such because of genetics or because of a certain accommodation they went through, i.e. the effects of their society and forcing to use their right hand, etc.) are much more numerous than true lefties. As an example, we can mention the widely popular actor and martial arts master Bruce Lee who, even though he was left-handed, he kicked with his right leg which was more dominant. By skillfully

bouncing in a southpaw stance, he changed his center of gravity from his right to left leg so he could kick in a quicker, more precise and stronger mode with his right leg. This is how he would confuse his opponents (e.g. boxers, karate masters, kung fu fighters as well as tae kwon do masters, etc.) because they were used to the way that a person standing in that position would kick with his or her back, i.e. left leg. They were perplexed once he would kick them with his right, i.e. front leg mainly because of its speed (he had to cross a much shorter distance to reach his opponent). The speed of his kick, his precision and the element of surprise all added up to perfection. With such bouncing and the skills he showed when changing stance, i.e. changing from a southpaw stance to a right-legged stance

“Certainly, each lefty needs to adjust his or her technique and martial arts tactics to himself, taking into account the specifics of each martial arts discipline.”

Martial Arts would confuse his opponents and they couldn't predict in which combination of hand and leg kicks he would attack next. Such frequent switch – hitter changes seen in the movie "Way of the Dragon” filmed in 1972 (there is a movie fight scene between master Bruce Lee and master Chuck Norris) can surely be taken as an example of a original and creative way of thinking leading to certain innovation and techniques, i.e. fighting tactics that haven't been seen until then. Although the movie was filmed in 1972, various martial arts athletes have started to use such quick stance changes, i.e. frequent switch – hitter exchanges several years later. It didn't take long for such a way of fighting to be accepted as useful and can be frequently seen in today's different martial arts, for example, in kick boxing, tae kwon do, karate, sanda kung fu, and many other. Bouncing on your toes as well as a quick change from a right-legged to a southpaw stance (with your back and front foot) are the basic techniques and tactics of today's fighters. Bruce Lee was left-handed, but his right foot was more dominant, which is a rarity seen in as few as 2-3% of people. There is a far larger number of righthanded people who are left-footed, i.e. whose dominant leg is left. According to some estimates, there are around 22% of such cases. We do not need to point out that a right-handed fighter who is also left-footed, i.e. whose left leg is more dominant will have a certain advantage in combat. So, from a customary right-handed stance where the left foot is placed forward, they will kick their opponent with their front foot during the fight (the distance they need to cover is smaller). As previously mentioned, this will add to the element of surprise. To reiterate, the surprise will be even greater when such a fighter does a switch – hitter and his opponent comes to see that his right leg is not particularly weaker. This type of kick as well as a combination of leg kicks can drive a person crazy during a fight. After all, one of such fighters is the legendary Bill "Superfoot” Wallace. Also, there are fighters whose right and left feet are equally strong when kicking a football. The same is valid in martial arts where certain individuals can kick their opponent equally strongly, precisely and fast with either leg. Such athletes who have this innate gift are very rare, however, high-quality fighters can reach these characteristics with long-term training. Some of the greatest thinkers in the history of humankind were left- handed, for example, Nikola Tesla, Albert Einstein, Aristotle, Marie Curie, Leonardo da Vinci, Michelangelo, Beethoven, Picasso, and many other. There is also a list of wellknown left-handed sportsmen, e.g. Ayrton Senna,Valentino Rossi, Larry Bird, John McEnroe, Maradona, Babe Ruth, Ronaldo, Rafael Nadal, etc. Many successful lefties were and are active in martial arts. We can mention a few- the boxer Oscar de la Hoya, Manny Pacquiao, Hector Camacho, Pernell Whitaker, Joe Calzaghe, Ruslan Chagayev; muay thai and kickboxing fighters such as Raymond Daniels, Giorgio Petrosyan; or popular MMA fighters such as Conor McGregor, Anderson Silva, Vitor Belfort, Robbie Lawler, Matt Mitrione, and many many other. Left-handed fighters are usually taught to fight in a southpaw stance, however, right-handed fighters can also train in this stance, for various reasons (such as boxers Michael Moorer and Marvin Hagler who were right-handed but fought in a southpaw stance). It is believed that this stance gives the fighter a strategic advantage because of tactical and cognitive difficulties that right-handed fighters

have when they are faced with an opponent who is moving in a "mirror-like” way, in contrast from the norm. Left-handed fighters are usually taught to fight also in the right-handed stance, despite of the fact that their left hand is more dominant. Trainers usually do this for several reasons. One of the reasons is the sheer need of the fighter in opposing a right-handed peer. The second reason is that is might surprise the opponent by switching to a southpaw stance (doing a switch – hitter). This tactic is frequently used by left-handed fighters in order to totally disorient their opponent. The third reason is a limited number of trainers who are specialized in teaching the southpaw stance. If we know which martial arts fighters were left-handed and successful and we analyze their fighting style, then each left-handed fighter can find many useful information. Certainly, each lefty needs to adjust his or her technique and martial arts tactics to himself, taking into account the specifics of each martial arts discipline. We can say that left-handed fighters have a small advantage opposed to right-handed fighters. However, martial arts are not a simple sports discipline and one needs to know how to use this advantage in combat, which is not simple at all. One of the primary reasons is simply because a good fighter needs to have the courage, strength and endurance, he or she needs to be intelligent and needs to make the right decision. He or she needs to have an excellent technique which can be achieved with persistent training, he or she needs to develop good fighting tactics, needs to be calm and patient during the fight, has to be very tenacious, have a strong desire to win, learn from others' as well as his own mistakes, etc. And just then, if he is also left-handed, he has the chance to become the new Rocky Balboa one day.

Jukoshin Ryu. An effective self-defense system. The Jukoshin Ryu style of Jiu Jitsu was designed to be a powerful and definitive tool in hand-to-hand combat. Its precise movements, fast, direct and convincing, are focused on doing away with all the options of our opponent allowing us to fluidly face all kinds of attacks and defending ourselves from one or more adversaries, which makes it one of the most efficient self-defense systems currently existing. Without superfluous movements or frills, Jukoshin Ryu makes numerous tactical options accessible to its practitioners, so that the student will always find those techniques that best adapt to his or her particular condition. That's why Jukoshin Ryu is a system suitable for everyone, regardless of sex or physical condition. What you are going to see in this video is a small sample of the different ways of solving hand-to-hand combat situations when we are attacked with or without weapons, and how to reduce our adversary as quick as possible, so that we are able to immediately continue our combat if necessary. I hope you enjoy it. See you on the mat!

Ref.: • eDSAN1

ORDERS: Budo international.com

Shihan Carlos Garcia, founder of Kempo Aiki-Jutsu, practitioner, Master and eternal apprentice of martial arts, and representative for Europe of GGM Jack Shamburger of Hawaiian Kenpo, makes a complete introduction to his system, which arises from the fusion of three main martial arts, Kempo, Aikido and Ju-Jutsu, with influences of Karate, Wing-Chun, Kick Boxing, etc.. From his hand we will know the 1st Kata of the style and some of its main Bunkais to enter directly with one of the pillars of the system, self-defense. We will analyze in detail situations of defense against chest grabs, direct punch attacks and combinations, with variants, from the guard, or incorporating controls and dislocations typical of Aikido, defense against basic kicks (Lowkick, Mae Geri), ground work (JuJutsu and Judo), 3 chained techniques and finally a sample of Kali work, defense against attack with stick. A program in constant evolution in the part of self-defense, incorporating and discarding movements to improve, but at the same time very traditional in the part of Aikido and Kenpo, to maintain its initial essence. "I want to tell the new generations to learn as much as they can, from whomever they can, and above all to respect all practitioners and Masters, no matter what their style or lineage. If you like something take it, if not, let it go."

Ref.: • KAJGC1 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

Learn the Nerve attacks of Kyusho in this important video that is a follow-up for the 6 Ji Hands (of the Bubishi) film. In that film you were shown the 6 Original Hands of Shaolin, their proper use and the Kyusho (Vital) targets that cause paralysis, dysfunction and incapacitation of an opponent. In this video we help you learn Kyusho and the 6 Ji Hands to a higher degree of skill with simple training exercises. These exercises will increase your skill with Kyusho, as you learn to transition from hand to hand, side to side, target to target. By training these slowly at first, then with ever increasing speed these 6 Shaolin Hands will become automatic and devastating to your opponents. These same 6 Hands were taught long ago in an ancient sequence called “Rokkishu” (6 Hands) and now from a more modern adaptation called “Tensho” (Turning Palms), it is the exact way to penetrate deep into the inner man to access the Kyusho (Vital)Targets. You will learn the Tools, Targets, Trajectories, Tuite and Tegumi from the Original Shaolin methodology. This is also Vital Information on the secret meanings of the Ancient Bubishi and Karate itself. It will help you understand the Keys to unlocking the hidden code of that epic manual and base of Martial Arts. “The Power is in Your Hands”. - Evan Pantazi

Ref.: • KYUSHO29 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.

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Ref.: • viet-9

For 4 decades, Patrick Levet has been involved in the propagation of Vietnamese martial culture. It is now time to move on to a more precise and detailed description of this form of combat, but also of its various forms of evolution which are the Vật de Vovinam Việt Võ Đạo and the Vật de Vovinam Integral. With this new DVD, Vietnamese Vat is presented in a completely new way. Instead of simply filming the techniques of the official program, fixed and without real application, Vat is shown in its traditional form detailing its main aspects (dress, refereeing, ritual, techniques, counter-attacks, tactics), its technical evolutions, as well as its differences, demonstrating why such evolutions occurred. This discipline is completely unknown to the general Western public despite being thousands of years old. The art of Vật is composed of hundreds of techniques and variations. However, the Vật techniques in Vovinam Việt Võ Đạo do not represent the proportion they deserve, only 28 techniques, despite the fact that the Founding Master was a Vật fighter. At Vovinam Integral we have tried to remedy this by adding many traditional Vật techniques, with over a hundred attack techniques (takedowns and projections) making up the overall program. To that we must add all the counter attacks for each takedown and projection technique as well as the defenses once on the ground. All this is complemented by all the techniques of compression, arm and leg locks, strangulation and choking, immobilization and controls, many of which are drawn from Jiu-jitsu, as is already the case in Vovinam Việt Võ Đạo.

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“Perhaps GM Leung Ting is one of the most consistent scholars in terms of studies on the origin of Chinese Martial Arts and of the WT in particular. Through his travels and consultations with old martial arts masters, he has come to conclusions which, with absolute certainty, provide a much more real and less “romantic” version of the origin of this style.”

“Those of us who for some years have dedicated part of our lives to teaching this system, promoting it, showing its best side and trying to convey this philosophy, we refuse to let our system die without achieving success.”

“Dai Sifu Kernspecht was able to create a team of teachers/fighters of an unmatched level. In fact, I don’t believe that in the entire history of Martial Arts, there has ever been a master capable of doing such a thing.”

“WingTsun is an extraordinary system and I have the full and complete certainty that, with a serious and constant work, and avoiding the mistakes of the past, it will be undoubtedly recognized by both Chinese Martial Arts practitioners and the rest of martial artists.”

“How can designing a training or education plan for the student harm tradition? Wouldn’t students and instructors learn much better if we designed their training for a better understanding of principles within a given time frame? Is it against tradition? Is it disrespectful to a teacher’s memory? The answers are obvious!”

“The main reason why a practitioner abandons the path of Martial Arts is lack of motivation.” “Does anyone really believe that if those founders of WingTsun 400 years ago, had had the possibility of accessing these technical and technological means, they would not have done so?” “My proposal is the preservation of the forms, techniques and philosophy of the classical system, together with the use of technologies, the design of training programs, and the achievement of concrete objectives, as to what we want to obtain and in what period.”

“One of the big problems which, in my view, WingTsun has dragged in recent years, is not having known how to position itself in the place that it really should occupy. We have lived in an eternal comparison. A comparison with other styles, a comparison with contact sports and MMA and, worst of all, a comparison among WingTsun branches. That eternal comparison has done us a lot of damage, because it has made us lose the real perspective of what we want to be.”

“Generally, our system has been taught to the public as an extraordinary self-defense system. As a system focused on street combat situations. And that, although it may seem so, is not true. It is only a small part of all that Martial Arts have to offer.”

“In my personal experience, I have been able to meet big and tough people, capable of taking powerful punches to the face (it hurts, but they endure). Put another way, unless you have the punch of Mike Tyson in his heyday, you're not going to pummel someone bigger and tougher. That is why in boxing, Muay Thai and MMA there are weight categories.”

“Chain fists are useful when you don't want to do a lot of damage and your opponent isn't particularly tough. Otherwise, it becomes necessary to use definitive techniques.”

INTERNATIONAL

CATALOG

BUDO INTERNATIONAL PUBL.CO. DVD CATALOG MARTIAL ARTS, COMBAT SPORTS & SELF DEFENSE INSTRUCTIONAL DVDs TITLES ARE AVAILABLE IN DVD FORMAT AND DIGITAL VIDEO ON INSTANT DOWNLOAD (mp4)

This catalog is provided by Budo International Publ. Co.

Ali content of this catalog is owned or controlled by Budo International Publ. Co. and is protected by worldwide copyright laws.

Table of contents - DVD Kung Fu ................................................................................................................................................................ 3 - DVD Tai Chi ................................................................................................................................................................... 8 - DVD Shaolin Kung Fu ................................................................................................................................................ 11 - DVD Wu Shu ................................................................................................................................................................ 13 - DVD Wing Chun .......................................................................................................................................................... 15 - DVD Wing Tsun ........................................................................................................................................................... 18 - DVD Other Styles China ............................................................................................................................................. 21 - DVD Judo and Ju-Jitsu .............................................................................................................................................. 23 - DVD Iaido..................................................................................................................................................................... 27 - DVD Karate .................................................................................................................................................................. 29 - DVD Aikido .................................................................................................................................................................. 36 - DVD Kobudo ............................................................................................................................................................... 41 - DVD Ninjutsu ............................................................................................................................................................... 44 - DVD Other Styles Japan ............................................................................................................................................ 46 - DVD Kyusho Jitsu ...................................................................................................................................................... 50 - DVD Capoeira.............................................................................................................................................................. 54 - DVD Brazilian Jiu-Jitsu .............................................................................................................................................. 56 - DVD Staff and Cane .................................................................................................................................................... 59 - DVD Kali Arnis Eskrima ............................................................................................................................................. 61 - DVD Nunchaku ............................................................................................................................................................ 65 - DVD Other Weapons .................................................................................................................................................. 67 - DVD Pro, Military, Police ............................................................................................................................................ 70 - DVD Krav Maga ........................................................................................................................................................... 77 - DVD Systema .............................................................................................................................................................. 81 - DVD Knife Fighting ..................................................................................................................................................... 83 - DVD Women´s Self Defense ...................................................................................................................................... 85 - DVD Other Self Defense Styles ................................................................................................................................. 87 - DVD Jeet Kune Do ...................................................................................................................................................... 91 - DVD Kenpo .................................................................................................................................................................. 94 - DVD Kajukenbo ........................................................................................................................................................... 97 - DVD Martial Arts Vietnam .......................................................................................................................................... 99 - DVD Other Martial Styles ......................................................................................................................................... 101 - DVD Pencak Silat ...................................................................................................................................................... 105 - DVD Tae Kwon Do .................................................................................................................................................... 107 - DVD Hapkido ............................................................................................................................................................. 109 - DVD Other Styles Korea ........................................................................................................................................... 111 - DVD Muay Thai ......................................................................................................................................................... 113 - DVD Kick Boxing ...................................................................................................................................................... 116 - DVD Grappling Wrestling ......................................................................................................................................... 119 - DVD MMA - Vale Tudo .............................................................................................................................................. 121 - DVD Other Contact Sports ....................................................................................................................................... 124 - DVD Health - Wellness ............................................................................................................................................. 126 - NEW DVDs! ............................................................................................................................................................... 129

TITLES ARE AVAILABLE IN DVD FORMAT AND VIDEO ON INSTANT DOWNLOAD (mp4). This catalog is provided by Budo International Publ. Co. All content of this catalog is owned or controlled by Budo International Publ. Co. and is protected by worldwide copyright laws. More info: www.budointernational.com - Contact Email: shop@budointernational.info

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DVD Kung Fu

DVD Ling Gar Kung Fu Self Defense Ref. DVD/LYN2 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Ref. DVD/WENG Price Inc. Tax......22,00 EUR

DVD Hung Gar Gung Gee Fook Fu Kuen Form Ref. DVD/SEWER4 Price Inc. Tax......22,00 EUR

DVD Kung Fu Toa Forms & applications Vol 1 Ref. DVD/TOA Price Inc. Tax......22,00 EUR

DVD Kung Fu Choy Li Fut Forms Ref. DVD/LIFUT1 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Fa Kuen Ref. DVD/WENG3 Price Inc. Tax......22,00 EUR

DVD Choy Li Fut Leopard & Tiger Form Ref. DVD/PR4 Price Inc. Tax......22,00 EUR

DVD Hung Gar Kung Fu Gong Gee Fook Fu Kune Form Ref. DVD/HUNG1 Price Inc. Tax......22,00 EUR

DVD Hung Gar Gong Gee Fook Fu Kune Form Vol 2 Ref. DVD/HUNG2 Price Inc. Tax......22,00 EUR

DVD Kung Fu Weapons Ref. DVD/KFW Price Inc. Tax......22,00 EUR

DVD Ling Gar Kung Fu Chin Na Ref. DVD/LYN4 Price Inc. Tax......22,00 EUR

DVD Kung Fu Splashing Hands Ref. DVD/NEIL1 Price Inc. Tax......22,00 EUR

6/134

DVD Kung Fu

DVD Hung Gar Kung Fu Ref. DVD/PA1 Price Inc. Tax......22,00 EUR

DVD Kung Fu Pa Kua Ref. DVD/PC1 Price Inc. Tax......22,00 EUR

DVD Kung Fu Choy Li Fut Tiger & Dragon Forms Ref. DVD/PR2 Price Inc. Tax......22,00 EUR

7/134

DVD Tai Chi

8/134

DVD Tai Chi

DVD Tai Chi Yang Style Vol 3 Ref. DVD/FUSE3 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Style Tui Shou Ref. DVD/YU3 Price Inc. Tax......22,00 EUR

DVD Tai-Chi and Qi-Gong Forms Ref. DVD/LYN7 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Style Pao Chui Er Lu Form Ref. DVD/YU2 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style Vol 2 Ref. DVD/FUSE2 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style Vol 1 Ref. DVD/FUSE Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Xia Jia Pao Chuie Form Ref. DVD/CHEN1 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Style Ref. DVD/YU Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style Kung Chia Form & Applications Ref. DVD/TCC Price Inc. Tax......22,00 EUR

DVD Tai Chi Beijing Jen The Straight Sword Ref. DVD/TCE Price Inc. Tax......22,00 EUR

DVD Ling Gar, Tai Chi & Qi Gong Ref. DVD/LYN Price Inc. Tax......22,00 EUR

DVD Mongolian Tai Chi Chi Kung Ref. DVD/MONGO1 Price Inc. Tax......22,00 EUR

9/134

DVD Tai Chi

DVD Tai Chi Chuan Yang Style Ref. DVD/PR1 Price Inc. Tax......22,00 EUR

DVD Tai Chi Wind Chasing Fan Ref. DVD/PR3 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style & Chi Kung Vol 1 Ref. DVD/TAI1 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style & Chi Kung Vol 2 Ref. DVD/TAI2 Price Inc. Tax......22,00 EUR

DVD Tai Chi Che Sword Ref. DVD/TAI3 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chuan for Seniors Ref. DVD/TAI4 Price Inc. Tax......22,00 EUR

10/134

DVD Shaolin Kung Fu

11/134

DVD Shaolin Kung Fu

DVD Shaolin Kung-Fu Shi De Yang Interview Ref. DVD/DEYANG Price Inc. Tax......22,00 EUR

DVD The 18 movements of Shaolin Kung Fu Ref. DVD/HONG Price Inc. Tax......22,00 EUR

DVD Shaolin Xiao Hong Quan Form Tao Lu Ref. DVD/MIAOZHI1 Price Inc. Tax......22,00 EUR

DVD Shaolin Kung Fu Boxing Ref. DVD/SHAOLIN1 Price Inc. Tax......22,00 EUR

DVD Shaolin Kung Fu Essential Ref. DVD/TOMBOLATO1 Price Inc. Tax......22,00 EUR

DVD Shaolin Luohan Shi Ba Shou Form Taolu Ref. DVD/YANTI1 Price Inc. Tax......22,00 EUR

DVD Shaolin Qin Na Ref. DVD/YANTI2 Price Inc. Tax......22,00 EUR

12/134

DVD Wu Shu

13/134

DVD Wu Shu

DVD Olympic Wu Shu Ref. DVD/WUSHU1 Price Inc. Tax......22,00 EUR

DVD Wu Shu San Jie Gun The 3 Section Staff Ref. DVD/FAN2 Price Inc. Tax......22,00 EUR

DVD Wu Shu Hou Kun The Monkey Staff Ref. DVD/FAN1 Price Inc. Tax......22,00 EUR

14/134

DVD Wing Chun

15/134

DVD Wing Chun

DVD Ip Man Wing Chun Kung Fu Ref. DVD/IMWC1 Price Inc. Tax......22,00 EUR

DVD Kyusho & Tegumi in Wing Chun Siu Nim Tao Ref. DVD/KYUSHO28 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Lat Sao Advanced. TAOWS Academy Ref. DVD/TAOWS4 Price Inc. Tax......22,00 EUR

DVD Kyusho Jitsu in Forms Siu Nim Tao Ref. DVD/KYUSHO12 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 1 Ref. DVD/MUKRAN1 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 2 Ref. DVD/MUKRAN2 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 3 Ref. DVD/MUKRAN3 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 4 Ref. DVD/MUKRAN4 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Basic Drills Ref. DVD/MUKRAN5 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Advanced Drills Ref. DVD/MUKRAN6 Price Inc. Tax......22,00 EUR

DVD Wing Chun Kung Fu Siu Lim Tao Ref. DVD/RANDY1 Price Inc. Tax......22,00 EUR

DVD Wing Chun Kung Fu Chum Kiu Ref. DVD/RANDY2 Price Inc. Tax......22,00 EUR

16/134

DVD Wing Chun

DVD Wing Chun Kung Fu Biu Jee Ref. DVD/RANDY3 Price Inc. Tax......22,00 EUR

DVD Wing Chun Kung Fu Concepts and priciples Ref. DVD/RANDY4 Price Inc. Tax......22,00 EUR

DVD Wing Chun Traditional vol 1 Ref. DVD/WCH1 Price Inc. Tax......22,00 EUR

DVD Wing Chun Traditional vol 2 Ref. DVD/WCH2 Price Inc. Tax......22,00 EUR

DVD WTU Chum Kiu Form & Applications Ref. DVD/WTU2 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Universe. Siu Nim Tao Form & Applications Ref. DVD/WTU1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Self Defense Ref. DVD/WTINCE1 Price Inc. Tax......22,00 EUR

DVD Kyusho Gock'Ng 'Sing Ref. DVD/KYUSHO14 Price Inc. Tax......22,00 EUR

DVD Chi Sao Wing Tsun TAOWS Academy Ref. DVD/TAOWS3 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Ref. DVD/WENG Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Vol2 Ref. DVD/WENG2 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Fa Kuen Ref. DVD/WENG3 Price Inc. Tax......22,00 EUR

17/134

DVD Wing Tsun

18/134

DVD Wing Tsun

DVD Wing Tsun Lat Sao Advanced. TAOWS Academy Ref. DVD/TAOWS4 Price Inc. Tax......22,00 EUR

DVD WTU Chum Kiu Form & Applications Ref. DVD/WTU2 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Self Defense Ref. DVD/WTINCE1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Universe. Siu Nim Tao Form & Applications Ref. DVD/WTU1 Price Inc. Tax......22,00 EUR

DVD Wing Revolution Combat Fundamentals Ref. DVD/WR1 Price Inc. Tax......22,00 EUR

DVD WingTsun The Mith of the Wooden Dummy Ref. DVD/WTK Price Inc. Tax......22,00 EUR

DVD Wing Tsun Right or Wrong? Ref. DVD/LT Price Inc. Tax......22,00 EUR

DVD Wing Tsun Taows Academy Ref. DVD/TAOWS1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Advanced TAOWS Academy Ref. DVD/TAOWS2 Price Inc. Tax......22,00 EUR

DVD Chi Sao Wing Tsun TAOWS Academy Ref. DVD/TAOWS3 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Alliance and Escrima Ref. DVD/WTAL Price Inc. Tax......22,00 EUR

DVD WingTsun Combat Techniques Ref. DVD/WTS1 Price Inc. Tax......22,00 EUR

19/134

DVD Wing Tsun

DVD WingTsun Wooden Dummy Street Aplications Ref. DVD/WTS10 Price Inc. Tax......22,00 EUR

DVD WingTsun Re-Evolution Ref. DVD/WTS11 Price Inc. Tax......22,00 EUR

DVD WT Re-Evolution 2 Ref. DVD/WTS12 Price Inc. Tax......22,00 EUR

DVD WingTsun Combat Program Ref. DVD/WTS13 Price Inc. Tax......22,00 EUR

DVD WingTsun Anti-grappling Ref. DVD/WTS2 Price Inc. Tax......22,00 EUR

DVD WingTsun Street Shock Vol 1 Ref. DVD/WTS3 Price Inc. Tax......22,00 EUR

DVD WingTsun Street Shock Vol 2 Ref. DVD/WTS4 Price Inc. Tax......22,00 EUR

DVD WingTsun Lat Sao Ref. DVD/WTS5 Price Inc. Tax......22,00 EUR

DVD WingTsun Chi Sao Vol1 Ref. DVD/WTS6 Price Inc. Tax......22,00 EUR

DVD WingTsun Chi Sao Vol2 Ref. DVD/WTS7 Price Inc. Tax......22,00 EUR

DVD WingTsun Advanced Combat Ref. DVD/WTS8 Price Inc. Tax......22,00 EUR

DVD WingTsun AntiGrappling & Chi Gerk Ref. DVD/WTS9 Price Inc. Tax......22,00 EUR

20/134

DVD Other Styles China

21/134

DVD Other Styles China

DVD Tong Long Pai. Southern Praying Mantis Ref. DVD/SAPIR1 Price Inc. Tax......22,00 EUR

DVD Bao-Din Shuai Chiao Ref. DVD/CHANG Price Inc. Tax......22,00 EUR

DVD Bao-Din Shuai Chiao Advanced Program Ref. DVD/CHIAO3 Price Inc. Tax......22,00 EUR

DVD Bao-Din Shuai Chiao Combat Ref. DVD/CHIAO2 Price Inc. Tax......22,00 EUR

DVD Shuai Chiao Black Belt Program Ref. DVD/CHIAO1 Price Inc. Tax......22,00 EUR

DVD Chinese Kempo Karate Ref. DVD/HAYEN1 Price Inc. Tax......22,00 EUR

DVD Fu Shih Kenpo Vol.2 Tiger Forms & Self Defense Ref. DVD/FUSHIH2 Price Inc. Tax......22,00 EUR

DVD Sanda Ming Chuan Kung Fu Ref. DVD/SANDA Price Inc. Tax......22,00 EUR

DVD Gham Long Pai Kung Fu Ref. DVD/VDSPEK1 Price Inc. Tax......22,00 EUR

22/134

DVD Judo and Ju-Jitsu

23/134

DVD Judo and Ju-Jitsu

DVD Unlimited Ju Jitsu Ref. DVD/LOU2 Price Inc. Tax......22,00 EUR

DVD Jiu Jitsu Kyoo Soku Seishin Ryu Ref. DVD/NUNES Price Inc. Tax......22,00 EUR

DVD Judo Atemi Ref. DVD/JUDOIT Price Inc. Tax......22,00 EUR

DVD Power Jiu Jitsu Juko Ryu Jiu Jitsu Vol 2 Ref. DVD/JUKO2 Price Inc. Tax......22,00 EUR

DVD Kodokan Judo Mifune Ref. DVD/BC24 Price Inc. Tax......22,00 EUR

DVD Kapap Israeli Jiu Jitsu & Martial Arts Ref. DVD/KAPAP9 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Introduction Ref. DVD/JUDO1 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Te Waza Hand Techniques Ref. DVD/JUDO2 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Koshi Waza Hip Techniques Ref. DVD/JUDO3 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Ashi Waza Foot & Leg Techniques Ref. DVD/JUDO4 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Sutemi Waza Sacrifice Techniques Ref. DVD/JUDO5 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Katami Waza Ground Work Ref. DVD/JUDO6 Price Inc. Tax......22,00 EUR

24/134

DVD Judo and Ju-Jitsu

DVD Mastering Judo Shime Waza Strangulation Techniques Ref. DVD/JUDO7 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Kensetsu Waza Joint Locking Ref. DVD/JUDO8 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Ne Waza Clinic Ref. DVD/JUDO9 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Master Okada Interview Ref. DVD/JUDO10 Price Inc. Tax......22,00 EUR

DVD Loubet Jiu-jitsu Ref. DVD/LOU1 Price Inc. Tax......22,00 EUR

DVD Judo Classics Jigoro Kano Ref. DVD/BC16 Price Inc. Tax......22,00 EUR

DVD Budo Goshin Jutsu Ryu Ref. DVD/DAB5 Price Inc. Tax......22,00 EUR

DVD Traditional Ju Jitsu Vol 4 Ground Combat Ref. DVD/DAB4 Price Inc. Tax......22,00 EUR

DVD Jiu Jitsu Ryu SDA Vol 2 Ref. DVD/JJRYU2 Price Inc. Tax......22,00 EUR

DVD Jiu Jitsu Ryu SDA Vol 1 Ref. DVD/JJRYU Price Inc. Tax......22,00 EUR

DVD Traditional Ju Jitsu Vol 3 Upright Techniques Ref. DVD/DAB3 Price Inc. Tax......22,00 EUR

DVD Traditional Jujitsu Vol 1 Ref. DVD/JUJ Price Inc. Tax......22,00 EUR

25/134

DVD Judo and Ju-Jitsu

DVD Ju Jutsu Do Combat Ref. DVD/SAN3 Price Inc. Tax......22,00 EUR

DVD Juko Ryu Jiu Jitsu Vol 1 Ref. DVD/JUKO Price Inc. Tax......22,00 EUR

26/134

DVD Iaido

27/134

DVD Iaido

DVD Toyama Ryu Iaido Ref. DVD/TOYAMA2 Price Inc. Tax......22,00 EUR

DVD Toyama Ryu Batto Jutsu Ref. DVD/TOYAMA1 Price Inc. Tax......22,00 EUR

DVD Iaido Kihon Waza Ref. DVD/IAIDO7 Price Inc. Tax......22,00 EUR

DVD Iaido Shinai Ref. DVD/IAIDO5 Price Inc. Tax......22,00 EUR

DVD Advanced Iaido Mugen Kai System Ref. DVD/IAIDO4 Price Inc. Tax......22,00 EUR

DVD Iaido Vol 3 Mugenkai Ref. DVD/IAIDO3 Price Inc. Tax......22,00 EUR

DVD Iaido Vol 2 Sen No Sen, Go No Sen Ref. DVD/IAIDO2 Price Inc. Tax......22,00 EUR

DVD Iaido Vol 1 Ref. DVD/IAIDO Price Inc. Tax......22,00 EUR

DVD Yari and Shinai Ref. DVD/IAIDO6 Price Inc. Tax......22,00 EUR

28/134

DVD Karate

29/134

DVD Karate

DVD Shoryn Ryu Karate Kyudokan Ref. DVD/SHORIN1 Price Inc. Tax......22,00 EUR

DVD Okinawa Bujutsu Motobu Udunti Ref. DVD/SU Price Inc. Tax......22,00 EUR

DVD Okinawa KenpoOdo Ref. DVD/ODO1 Price Inc. Tax......22,00 EUR

DVD Okinawa Shima-Ha Shorin-Ryu Karate Jutsu Ref. DVD/OSHIRO1 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Kumite Ref. DVD/KANA7 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 7 Interview Ref. DVD/CHINEN7 Price Inc. Tax......22,00 EUR

DVD Kyokushinkai Karate Ref. DVD/KYOKU1 Price Inc. Tax......22,00 EUR

DVD Karate Shito-Ryu Hayashi-Ha Kata & Bunkai Ref. DVD/SHITO3 Price Inc. Tax......22,00 EUR

DVD Best Karate Kumite Ref. DVD/BIERMAN3 Price Inc. Tax......22,00 EUR

DVD Sport Karate Kumite Ref. DVD/BENE1 Price Inc. Tax......22,00 EUR

DVD Shotokan Karate International Ref. DVD/KANA Price Inc. Tax......22,00 EUR

DVD Okinawa Goju Ryu Seibukai Karate Ref. DVD/NAKA Price Inc. Tax......22,00 EUR

30/134

DVD Karate

DVD Goshin Jutsu Kata Ref. DVD/BIERMAN2 Price Inc. Tax......22,00 EUR

DVD Shito Ryu Karate Pinan Kata and Bunkai Vol 2 Ref. DVD/SHITO2 Price Inc. Tax......22,00 EUR

DVD Shito Ryu Karate Pinan Kata & Bunkai Vol 1 Ref. DVD/SHITO1 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Yamashita Ref. DVD/YOSU Price Inc. Tax......22,00 EUR

DVD Uechi Ryu Karate Ref. DVD/UECHI1 Price Inc. Tax......22,00 EUR

DVD To-De Karate The hand of the infinite Ref. DVD/TODE Price Inc. Tax......22,00 EUR

DVD TY-GA Karate Stretching & Kicking Ref. DVD/TYGA Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 6 Self Defense Ref. DVD/CHINEN6 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 5 Kumite Ref. DVD/CHINEN5 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 4 Bunkai-2 Ref. DVD/CHINEN4 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 3 Bunkai-1 Ref. DVD/CHINEN3 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 2 The Meaning Ref. DVD/CHINEN2 Price Inc. Tax......22,00 EUR

31/134

DVD Karate

DVD Goju Ryu Karate Vol 1 Kihon Waza Ref. DVD/CHINEN Price Inc. Tax......22,00 EUR

DVD Mastering Karate Dan Kata Ref. DVD/KANA6 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Kyu Kata Ref. DVD/KANA5 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Kihon Ido Ref. DVD/KANA4 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Ashi Waza Ref. DVD/KANA3 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Te Waza Ref. DVD/KANA2 Price Inc. Tax......22,00 EUR

DVD Karate-do Shotokan Kata & Bunkai Vol3 Ref. DVD/SHJ3 Price Inc. Tax......22,00 EUR

DVD Karate-do Shotokan Kata & Bunkai Vol2 Ref. DVD/SHJ2 Price Inc. Tax......22,00 EUR

DVD Shotokan Karate Kata Bunkai Vol1 Ref. DVD/SHJ1 Price Inc. Tax......22,00 EUR

DVD Karate JKA Masters 70's Ref. DVD/BC6 Price Inc. Tax......22,00 EUR

DVD Ishin Ryu Karate Ref. DVD/BC23 Price Inc. Tax......22,00 EUR

DVD Karate JKA Masters 50's Ref. DVD/BC14 Price Inc. Tax......22,00 EUR

32/134

DVD Karate

DVD Karate 1924 Kata & Vintage Footage Funakoshi Ref. DVD/BC13 Price Inc. Tax......22,00 EUR

DVD Okinawa Shorin-Ryu Karate Chibana Ref. DVD/BC20 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate GYamaguchi Ref. DVD/BC9 Price Inc. Tax......22,00 EUR

DVD Karate JKA Masters 60's Ref. DVD/BC3 Price Inc. Tax......22,00 EUR

DVD Karate-Do The early years Funakoshi Ref. DVD/BC1 Price Inc. Tax......22,00 EUR

DVD Kyokushin Karate Mas Oyama Ref. DVD/BC5 Price Inc. Tax......22,00 EUR

DVD Okinawa Isshin Ryu Karate Kata Ref. DVD/CAN2 Price Inc. Tax......22,00 EUR

DVD Shotokan Karate Nakayama, the last interview Ref. DVD/NAKENT Price Inc. Tax......22,00 EUR

DVD Uechi Ryu Karate K.Uechi Ref. DVD/BC21 Price Inc. Tax......22,00 EUR

DVD Wado-Ryu Karate Ref. DVD/BC15 Price Inc. Tax......22,00 EUR

DVD World Karate Championships 2004 Pack Ref. DVD/WKF2 Price Inc. Tax......22,00 EUR

DVD Karate-do Shinshinkan Okinawa Kata Ref. DVD/CAN1 Price Inc. Tax......22,00 EUR

33/134

DVD Karate

DVD Karate Wado Ryu - I Dori, Tanto Dori, Shitei Kata Ref. DVD/WADO1 Price Inc. Tax......22,00 EUR

DVD Classic Martial Arts Masters of Budo Japan & Okinawa Ref. DVD/BC8 Price Inc. Tax......22,00 EUR