Issuu

Ref.: • KAPAP-12

LARP and Soft Combat are spreading like wildfire and are increasingly present in medieval fairs and events associated with tourism and local festivals. Medieval fencing, in addition to its increasingly widespread presence in reproductions of ancient battles, has also become a new leisure activity and sport that is spreading around the world in dojos for children and adults, in the form of role-playing games, or preparation for actors in the increasingly frequent series framed in the Middle Ages. Because of his extensive martial experience, Avi adds veracity to the combat, and realism conveying unexpected completely approaches to the genre lovers will enjoy this video. His 6th Dan of Kendo, 5th Dan of Iaido, 5th of Jodo, his knowledge of Kenjutsu and so many other martial arts, put him in a great position to deal with the subject.

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

Ref.: • KeYSI-4

In this fourth work, Justo Dieguez, creator of the Keysi Fighting Method, focuses on the area of grabs and traps. We will see 10 technical sequences in which the grab, the trap, are the objective, although it will be treated as a consequence. At KEYSI we do not think beforehand about performing a grab, it is something that will be the consequence of a certain situation. In a risk situation, your senses connect you with your environment, you are pure instinct, auditory, visual and contact. This ability allows you to focus your concentration, recognize your surroundings and decide what actions to take. It is you with your mental capacity that makes everything a weapon, a wall, a corner, a step, etc. On the street, in a real situation, the rules don't work. With technique you are not going to achieve your goals. Technique is that bridge that will get you to the target, but it is not the target. In a risky situation, instinctive responsiveness has to prevail over technique. When you train with this mentality you know that a millisecond can be vital. You understand that you don't have the possibility to extend the time, that you can't play on your opponent's patience or ability to manipulate him. You understand that you are at a complete disadvantage, that your response must be explosive and that you have to get out of there.

ORDERS: Budo international.com

"Even the unexpected ends up being a habit once you've learned to endure" Julio Cortazar he human being's capacity of enduring is paradigmatic. It is certainly this feature, along with our adaptability, what has made us the winning species on the planet. We are plastic, elastic, and capable to acquire any form and to integrate ourselves into any situation conforming to it. My friend Paco, an exceptional therapist, genius of so many things, told me years ago talking about food: "Alfredo, do not worry so much about food, we will soon eat shit and we'll be even able to metabolize", to which, as it's customary in him, he added an old joke, the one about that South American president who asked one of his advisors about the situation of the country. - "Sir, I have both good and bad news for you - answered the advisor -. Which one do you want to hear first?" - "The good news" - said the President. - "We're sunken in shit up to the neck, and soon that's all we will have to eat." - said the advisor. - "Well, I see, that's the bad news! Now what's the good news? - asked the president. - "No, no, sir! THAT WAS the good news! ... The bad news is that there won't be shit for everybody." Accustomed as we are to resist, we often forget that this is not the purpose, nor the natural state to walk the paths of life. To the pressure of the environment, we add our internal pressure, much larger if anything, as it conditions the way we react to what comes to us. We must relearn to ventilate ourselves, otherwise we will exhaust our reserves, and that, far from being a healthy attitude, will prevent us from fulfilling everything we have come to fulfill. Being always up to the brim, one single drop will destabilize the glass liquid and will cause it to overflow. Especially in the critical phases of our lives, when we must draw from where there isn't anything, this principle becomes evident before us. Emptying, then it is more important than refilling, releasing ballast more important than dropping anchor, cast out air more important than blow it in. We should not fear this situation, because that abandonment, to which we must surrender, will make us stronger, but above all, it will let us float on our shipwreck. A friend of mine, a scholar of many things, used to call this attitude "to stand from beyond the line", that is, to place yourself from the line toward the outside or the inside. If the limit, the line, represented the absence of symptoms, he maintained that health, understood as something assertive, should be beyond that limit. Health, well-being, the natural, was being beyond the absence of negative symptoms; rather, it was an assertive and positive state, from which we could assume, with guarantees of success, the EXCEPTIONAL, something that sooner or later will come to us and knock our door.

"To say that something is natural actually means that it can be applied to all things" Socrates Sun Tsu said it this way: "He who uses ordinary forces to fight and extraordinary forces to win comes out victorious. He, who on the contrary, always uses the extraordinary forces, will exhaust in his campaigns and when the time comes, he will lack resources to deliver the definite blow to his opponent." E n d u r a n c e , o u r re s i s t a n c e , a d a p t i v e c a p a c i t y, intelligence and the ability to impose our judgment and resist changing, may eventually lead us to stand on the edge of the abyss. The stronger, the more intelligent you are the worse in this case. Resilience is not enduring. Genuine renewal is not to select what we "want" but what suits the new stage of our spirit. Pressing crisis undress us little by little. Travelling with a lightweight luggage, not only external, but especially internal, will help us to better face the transit. No need to worry ... what is worth keeping will still be there when all pass. Things and people also have the custom, that ability of insisting on their own attempt. Crisis force us to reconsider the essential and in doing so, we all must place ourselves "beyond the line", so as to have room to live ... and not just survive. Enduring is not enough, we must learn to enjoy again; arduous task in the middle of a crisis, I know, nevertheless indispensable. Only with the stick with the donkey walk ... Yes, but he will end up beaten, injured and sore everywhere. Using the carrot will be like "oiling" the bearings of our vital system, it will give space so that all the good reaches us, and, most important, when that happens, we can appreciate it. It is the joy and not the absence of pain which provides space to resist the stakes that life will give us in the future, margin to live in peace, because peace is not the opposite of war - it's love - but its simple absence. When the fathers of the American Constitution included in their ideology the pursuit of happiness as a human right, they opened a door to hell and another to heaven. Nevertheless, giving yourself a chance, withdrawing to the winter quarters to wait out the snow, enjoy the simple, go back to the basics, is the real fast that will allow us to heal our wounds and then return to daily struggle, with much greater strength, wisdom and compassion. All, without exception, we must relearn to love; docile as a child, curious and simple, and the winds of life will not find resistance in our simplicity. The storm will pass and we will continue firm on our feet ... or at least crawling on all fours. Going back to the beginning, to that child in all of us, heals many wounds; taking his strength, feeling his candor, heats the most wounded hearts and lets the blessing of his strength, joy and blind confidence that everything will come, because the guardian of confidence in life, is the child within us.

When Avi proposed this video to me I was surprised. Apparently he seemed to step out of his personal line, or at least out of the space in which we are all pigeonholed with our public image. The truth is that his 6th Dan of Kendo, 5th Dan of Iaido, 5th of Jodo, his knowledge of Kenjutsu and so many other martial arts, put him in a position to deal with the subject. In addition Avi taught theatrical sword fighting to his students and also at Bar Llan University with fencing as a Martial Art. Medieval fencing, in addition to its increasingly widespread presence in reproductions of ancient battles, has also become a new leisure activity and sport that is spreading around the world in dojos for childr en and adults, in the form of r oll games, or preparation for actors in the increasingly frequent series framed in the Middle Ages. LARP and soft combat are spreading like wildfir e and ar e incr easingly pr esent in medieval fairs and representative events associated with tourism and local festivals. Because of his extensive martial experience, Avi adds veracity to the combat, conveying realism and completely unexpected approaches to the genre lovers will enjoy this video. This article is written by his Kapap level 4 and purple belt student John Machado, I hope you like the novelty! Alfredo Tucci

The fight with medieval weapons Text: Chris Cotter Avi professional photos by: Aleksandar Jovkovic Photos Seminar: Yaron Ron

Armed Combat - Learning Through Play While Larping (Live Action Role Play) often takes a lot of criticism for its exaggerated moves, ‘patty cake’ style of back and forth and anachronistic theme, it can be a great learning tool in a safe environment while also being a lot of fun. With its origins dating back to the 1970s, Larping has taken on many forms as it has grown in popularity and evolved throughout the years, ranging from small events to large festivals with hundreds or even thousands of participants. While much of the culture and activity around the event is not related to martial arts, there is certainly a component of Larping which has real value and can be leveraged to help teach core martial arts principles: single combat. The weapons and costumes of certain players are generally based on the medieval or renaissance period, though the weapons are foam or padded and the armor is a replica and much lighter. This certainly brings a different dynamic to how the combat is conducted, but many of the principles still apply and can be practiced without fear of damaging your partner.

The fight with medieval weapons

vi, in his recent travels to Israel, trained a group of Larpers who were looking to improve their skills in single combat and group teamwork on the battlefield. With a 6th degree black belt in Kendo, Avi knows quite a bit about combat with swords. The training began with a quick introduction to some of the weapons and the philosophy behind them. While a shield is seen as primarily a defensive tool, it can also be used as an offensive weapon or be used to disarm your opponent. While a second sword or even a knife in the offhand may appear to be an offensive weapon, this can be used as a defensive tool, intercepting or trapping an incoming attack to open the line of attack for the primary weapon.

The fight with medieval weapons

He also provided guidance on holding a shield in different ways to ensure that an attack doesn’t collapse or pivot the shield and leave the defender vulnerable. After describing some of the philosophy of swordsmanship, he allowed the group to practice, giving them tips and guidance along the way. Then he began instructing them on strategies for fighting two-on-two and how misdirection and relative position can serve to confuse the opponents and open new lines of attack. In the end, he was able to add some concepts and techniques to their abilities and give them a unique advantage in single or team combat in the future.

The fight with medieval weapons

The fight with medieval weapons One of the drawbacks of using foam weapons is the difficulty in building momentum and inertia while executing a movement, slowing attacks, and making them seem ineffective. Naturally, to compensate for this, practitioners will over exaggerate movements, which can start to build bad habits if the idea was to transfer this to real weapons in the future. Some of this can be helped by just padding weapons to maintain some of the weight, but of course, this can be difficult for larger weapons such as axes and large swords. Another drawback is the inability to execute precise movements, such as penetrating strikes and stabbing movements. Most foam weapons rely on large slashing movements so as not to damage the tips of padded or foam weapons. While through practice and using higher quality, higher weight equipment can help in some ways, these habits can be worked out to some degree, there is another solution: Use more realistic weapons that aren’t sharpened, but increase the amount of protective gear.

“He also provided guidance on holding a shield in different ways to ensure that an attack doesn’t collapse or pivot the shield and leave the defender vulnerable. After describing some of the philosophy of swordsmanship, he allowed the group to practice, giving them tips and guidance along the way.”

The fight with medieval weapons

From January to September 2010, Christian Eckert led the Gladiator Project, taking students from Regensburg University in Germany to a real historical ‘Scoula’ to train as the gladiators would have, paying close attention to every detail of the diet, lifestyle and arrangements that a real prospective gladiator would have gone through. By giving the students weapons and armor that would have been very similar to the actual gladiators, he found that the students, through play and his guidance, were able to reconstruct much of the combat that would likely have been seen back in that day.

Interestingly, he discovered that despite popular belief that these were bloody matches to the death, most of the gladiators that were paired together were specifically designed to not be able to easily strike a lethal blow, but rather a wounding blow that would end the match. Gladiators were expensive to train and maintain, the initial training lasting a whole two years. If they were simply to be led to a slaughter, it wouldn’t be a lucrative business for those who bought and trained these warriors. One of the keys to replicating the training was using realistically weighted weapons while also having a great deal of protective equipment to prevent injuries.

The fight with medieval weapons

While realistic training isn’t for everyone, training with foam weapons has the advantage of being safe and fun for kids as well. This is useful to help teach children some of the basics in martial arts concepts and principles, which can also be used to supplement existing children’s martial arts programs. However, in order to gain real proficiency, it will be necessary to introduce more realistic conditions, which isn’t appropriate for children. A revival in recent years of Medieval and Western armored combat has led to the creation of a number of groups, federations and competitions that are based largely in realistic style combat, often requiring the use of costly, authentic armor, true to the time period. The M-1 Medieval fighting tournament, Western Martial Arts Workshop, Historical European Martial Arts and International Medieval Combat Federation are just a few of these organizations that have grown in popularity and have attracted a number of martial artists and individuals drawn to the

“While realistic training isn’t for everyone, training with foam weapons has the advantage of being safe and fun for kids as well.”

The fight with medieval weapons

historical aspects and unique allure of the culture surrounding this. Whether training with foam weapons or more realistically, the openness and freedom of play allows practitioners to hone their abilities and discover what attacks are effective and which ones open them up to attacks. This paired with guidance to provide insights into the principles of combat and even by the study of historical documents from the period itself can help elucidate the techniques that are most effective against an enemy combatant. Avi is working to put together more material for individuals training and fighting in edged combat, providing a more enriching experience for those who enjoy the free play of one-on-one fighting. As more details emerge and other groups are trained, updates will be forthcoming.

The fight with medieval weapons

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

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.

ORDERS: Budo international.com

Gracie Intermediate Grappling Arts for every Men & Women We, as martial artists, agree on one thing: just like you must eat and drink to live, every man or woman should practice a martial art or combat sport. It's not just about “moving” and keeping fit, you can do that by doing any other indoor or outdoor activity. On the one hand it is about bringing body and mind in harmony. But not only, because martial arts and combat sports bring together like-minded people. There is to find new friends and to achieve goals together. However,

the question is always the same: “...which martial art / combat sport is right for me?” I am a great fan of martial arts in general, regardless of origin. My brother Demetrio and I, who has also accompanied me on this path for over 45 years, have seen, trained, and experienced many things together, and ar e still today, open to ever ything and ever yone. In my opinion, this is what makes the difference when we talk about our training method and our way of bringing Gracie Jiu-Jitsu and our self-defense method to other people.

ut to make it a bit easy for a layman, you can basically divide the martial arts into three categories: with weapons, without weapons and those that have a focus like ground fighting. When I think of the word “ground fighting”, I immediately remember our first years when we opened our Gracie Jiu-Jitsu Academy in Zurich, and the first UFC could be seen. We didn't have to wait long for that, and there were already the first “anti-grapplers” at the door. The martial arts magazines were full of anti-grapplers and the theory why “grappling” was not necessary for a fighter. Finally, one had again a “new” topic that neither Bruce Lee nor Ninjas were. The “grapplers” and the “anti-grapplers” had gained the attention of numerous journals in all possible languages of this world. At that time, however, I asked myself only one thing: “...are all now enough clever to do something positive with it, or is it now only about making each other bad?”

To the evil ground fighters! I was practically maligned by the entire grappling scene because I had interviewed a well-known wrestler and Wing Tsun man named Reza Nasri as a “grappler” (the article appeared in the summer of 1996 in the German magazine Kung-Fu Illustrated). “These are our enemies, aren't they?!”, was the response from all sides. For me, on the other hand, it was an excellent opportunity to show that even a man like Nasri would train two styles and take the best from them. Around the same time, Emin Boztepe (Wing Tsun) and the Gracies (Brazilian JiuJitsu) had challenged each other to a comparative fight, and this gave countless headlines, both in the German and in the English-speaking journals. But it never came to a challenge fight. In Brazil I also experienced another split, between the Jiu-Jitsu and the Luta-Livre people. But here the reason was probably

“Modern BJJ is highly popular as a martial art today, and not only among kids and teenagers, but also among adults and seniors.”

“In grappling" mainly holding, leverage and choking techniques are used to force the opponent to give up. The punching and kicking techniques are “secondary” here.”

something else. In very few circles at that time, the LL and JJ people trained together. Between 1995 and 2005 I traveled several times to Rio de Janeiro, where both styles are very strong and even have their “birthplace”. I met greats like João Ricardo (founder of Academia Budokan), Hugo Duarte and Daniel D'Dane. Master D'Dane also visited us years later at the academy in Zurich, which is a very great honor for us.

For me a highly interesting group were also the people at CHUTE BOXE under the famous Head Coach Rudimar Fedrigo, with focus on Muay Thai Boxing, and with numerous successful MMA Fighters. I hope I'm not stepping on anyone's toes here, but as a big fan and longtime Muay Thai practitioner (under Ajarn Surachai Sirisute, in the USA), it was doubly interesting and exciting for me to see how the Muay Thai and grappling worked together.

“Grappling styles are now an important part of almost every martial arts school. Today there are numerous grappling and wrestling variants, and thus it is almost impossible not to believe that everyone/woman can find a variant for themselves.”

The fighters from this stable that I still follow today include Wanderlei Silva, Murilo “Ninja” Rua and Mauricio “Shogun” Rua. Grappling styles are now an important part of almost every martial arts school. Today there are numerous grappling and wrestling variants, and thus it is almost impossible not to believe that everyone/woman can find a variant for themselves. Whether the training takes place in the classic Do-Gi (kimono) or in the cool modern Rashguards and Fightshorts, it is and remains “grappling”. But what is this “grappling”? In grappling" mainly holding, leverage and choking techniques are used to force the opponent to give up. The punching and kicking techniques are “secondary” here. Not that they are not taught, or needed, because this depends on who you choose as a trainer or coach. In grappling these techniques are called Submission.

Why Brazilian Jiu-Jitsu? It's true that we are not the only ones who practice submission techniques, but Brazilian Jiu-Jitsu (short BJJ) has evolved in this area, even today's modern “antigrapplers” say so. The Gracie family in Rio de Janeiro, especially Grandmaster Hélio Gracie, who learned (Japanese) Jiu-Jitsu from his brother Carlos Gracie, have not only perfected the holding, leveraging, and choking techniques, but also tested them for “heart and kidney”. Since the beginnings of VALE-TUDO (Portuguese for Anything Goes), noholds-barred matches in Brazil that took place with almost no rules, Gracie JiuJitsu has achieved to become one of the leader martial arts in the world. Modern BJJ is highly popular as a martial art today, and not only among kids and teenagers, but also among adults and seniors. The BJJ championships and tournaments around the world, bring together hundreds of people, with or without Gi. I know many believe they will never fall to the ground and therefore don't need to learn ground fighting. This is the same, at least to me, as just doing sport BJJ and believing that you can defend yourself in a street situation with the cool “leglocks”. Gracie Jiu-Jitsu practitioners know perfectly well that it is completely absurd to think that punching and kicking techniques are

not part of our repertoire. Today everyone knows that who really wants to survive must also be an all-rounder. The Gracie Jiu-Jitsu offers you not only to force the opponent to surrender, but it also teaches us how to get out of different positions. The ground fighting is just in the styles like Jiu-Jitsu and Luta-Livre on a completely different level. If you can then combine this method of grappling with good standing combat (Wing Tsun, Boxing, Muay Thai, etc.), you get an absolute higher understanding of complete fighting. Just as in Muay Thai and Boxing one must learn to dodge blows, in Gracie Jiu-Jitsu one learns to dodge or even recognize the attack and reposition oneself. The position is important to then be able to counterattack. As in Boxing, where footwork is an essential element, the flow of movement is important in Gracie Jiu-Jitsu. Unlike the sport of BJJ, where the flow of movement is needed to score points, the flow of movement on the open road is different, because here no points must be collected, but the opponent must be brought under control as quickly as possible. The practice of Grappling or Gracie Jiu-Jitsu will take you emotionally to a new level, I can guarantee you that. The sparring (also called Randori, from the Japanese) gives a grappler the opportunity - without the use of blows, to train specifically on our strengths and weaknesses. Also, at a certain level, you learn to work with feints; once your training partner has a similar level, you are forced to look for new ways to win.

Further education also for us! Do you think you have learned as a black belt or teacher in grappling? Then you have understood nothing in my opinion. Please excuse me if I must be direct, but there are some black belt holders in BJJ who require their students to show up for training at least twice a week, but the teacher himself had his last own training about five years ago... but can't wait to get a new stripe on his beautiful black belt! Do you know where your instructor got his know-how? Yes, from a few seminars and YouTube! Unfortunately, this is not uncommon in the BJJ scene! You visit a well-known BJJ school, or there is once again a well-known “Brazilian” in the area, visit the seminar and whoops you make a few cool souvenir photos, and you are already the king in your own village. You surely know the saying: “Among the blind, the one-eyed man is the king!” As I have already said, I still deal with all kinds of martial arts. The one master or expert I try to meet more often, and this also happens at seminars and workshops, because this is a good opportunity to familiarize some hours intensively or to see something new, but the real lesson, even for a teacher, it is by going a few days, weeks or even months to his teacher and again as a student to get ahead. The excuse of family, job, etc. I find simply inappropriate, because you also demand it from your students: “once a teacher, always a student!”

Where does the spirit come into play? Here, too, we agree that perhaps the most important means of defending ourselves in an emergency is still our mind. Thanks to good and targeted training (in a practical self-defense) we also train to always be alert and act wisely, because to protect ourselves is the priority! But it should be clear that the body must be trained to physically withstand the strain in an emergency. The mind alone here is no longer enough. Regular physical training is the “be-all and end-all”. I am always asked what I think about firearms and whether I can use them. Yes, I can use a firearm, but I don't think it's a good idea to have one at home if you can't store it (safely) for professional or safety reasons. It's up to each person to decide for themselves. I don't want to tell anyone what he/she must do or not do! Martial arts training goes beyond the art of SELF-DEFENSE. Do not make the mistake of simply wanting to get fit during training. Take note that thanks to martial arts training, you can prepare yourself mentally and make yourself strong. SELFESTEEM is necessary not only in case of a street attack, but in LIFE in general. If you just want to choose a martial arts school to which you will entrust your life, you should also make sure that the trainer / instructor is sincere and serious: “...compared to something bad, the mediocre seems good.” We are currently organizing many interesting Gracie Jiu-Jitsu seminars with highly qualified experts from Brazil and the USA, such as Professor Leonardo Xavier, 5th degree black belt of Academia Gracie Humaita and personal “Uchi Deshi” of Master Rickson Gracie. At the end of June, we plan to visit some of our partner schools together with him, which will surely be exciting for all grappling practitioners. In the month of September, we also want to bring back to Europe Grandmaster Carley Gracie, red belt holder and son of Brazilian Jiu-Jitsu founder Carlos Gracie. The training days in Zurich and Berlin are already fixed. All our GJJ seminar dates will be announced on our homepage and in this magazine. Next month we'll talk more about our new DVD Gracie Intermediate ...so stay tuned and as always, keep it real! www.graciejiujitsu.eu

“Martial arts training goes beyond the art of SELF-DEFENSE. Do not make the mistake of simply wanting to get fit during training. Take note that thanks to martial arts training, you can prepare yourself mentally and make yourself strong.”

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.

ORDERS: Budo international.com

Ref.: • KfRISAN-6

ORDERS: Budo international.com

Haragei and music For many years I have been a lover of Jazz, good music, opera, Brazilian music (Bossa nova, MPB), however, I am also an eternal admirer of the international music of my era, the 70's, 80's..... We all have, in some way, some "soundtracks" that have marketed our lives.

usic has always had a strong influence on culture and has marked entire generations, inspiring and creating different cultural movements. Its emergence is linked to communication, dance and rituals. Once, talking to Araki Sensei in his office, he explained to me that depending on how we understand people we can be, or not, part of their lives. It is simple, just like words, attitudes, etc., music, being much more than a set of sounds, rhythms, can awaken feelings of sadness, joy, nostalgia ..... In short, from war to cultural celebrations, music has always provoked sensations and changes in those who

listen to it. In the same way, our thoughts translate us (when we go back to the past, when we experience a moment with intensity) with perfect harmony when we see that life vibrates in us and becomes memories, emotional expressions. Each instant, when observed judiciously, is covered with parts that form other parts. For the masters, it is when we create an atmosphere of realities and parallels between the self and the other, between yesterday and today, or even in relation to a future that is yet to come. This leads us to the idea that everything has a connection that jumps to our eyes and senses every time we are touched internally. That is why those who live an experience in which their body vibrates along with their thoughts, such as when we are at a concert of a favorite band, especially when we are young, know that there are no words that can describe the sensation that goes beyond the moment and remains registered in the memory of those who live it. Talking to a well-known Rock (Heavy Metal) lover about the moment he went to the "Iron Maiden" concert, I could see in his eyes that state of consciousness in which the person relives the moment, his eyes shine when he speaks with the potentiality of those inner flashes - jubilation of that passion larger than life and death. It is as if he were to die in that moment, he would die happy. This curious experience, which some also describe as the birth of a son, for example, paints a new picture of a kind of moment in which life, from perennial youth, leaps into tireless dynamism, almost wishing it would never end. For the more mystical, this maelstrom of sensations makes one realize, in the most palpable way, that the spirit exists and that its supreme power cannot die. Haragei explains that everything is impregnated with Ki energy and that, through it, everything vibrates. Everything is connected. For the masters, the world can be seen under the idea of emptiness and rhythm. At the core of our body, at the very heart of the world, there is no solidity of matter. There is only dance. The Austro-American atomic physicist Fritjof Capra made the following comment: "The creation and destruction of material particles is one of the most spectacular consequences of the equivalence between mass and energy. The differentiation between matter and empty space had to be abandoned definitively when it was discovered that particles are mere local condensations of the field, concentrations of energy that can disappear again in the underlying space". In the relationship between Haragei and music, each sound reality produces another reality. My French student, Stéphane, once asked me to explain about music and Haragei. During several explanations, he carefully wrote down everything. Then I asked him to write a text about his notes. With you, Stéphane Postel:

MUSIC THROUGH THE HARAGEI 腹芸 In Japanese, hara means the abdomen and the term gei refers to the arts in general. Therefore, haragei literally means "the art of the abdomen." The art of haragei-to make a pleonasm-first finds its utility in breathing techniques based on different types of hara contraction. However, far from being restricted to these techniques, haragei is a discipline that encompasses many concepts and includes all interactions between oneself and something or someone. It obviously applies to bugei - the arts of war - but also to masks, calligraphy, painting... and music. To better understand the contribution of haragei in the perception and understanding of music, we must define and explain the main concepts of haragei, then relate them to our topic of reflection.

"Haragei is a discipline that includes many concepts and includes all interactions between oneself and something or someone. It obviously applies to bugei - the arts of war - but also to massage, calligraphy, painting... and music."

Haragei is based on the principles of Yin and Yang: What is me, what comes from me is considered Yang. What is not me, what happens to me and what I do not control is considered Yin. Yang is expansive and Yin is contractive. In painting, warm colors are Yang and cold colors are Yin. An internalized emotion is considered Yin, while an externalized one is Yang. Within haragei, the male has a Yang structure (external genital organ for reproduction) and a Yin function (no sinuses, can carry heavy loads, bears blows more easily, and has a deep voice). The woman has a Yin structure (internal genital organ) and a Yang function (breasts to nourish the child, belly that grows when she is pregnant, high-pitched voice). The principles of Yin and Yang applied to music give us: High-pitched sounds are expansive, therefore Yang, and lead us to externalization. Low sounds are Yin and encourage us to internalize. Broad sounds are Yin and fast sounds are Yang. The alternation of both is Yin and Yang. Major chords are Yang and minor chords are Yin. Music can be Yin - for example, it promotes internalization - but its interpretation can be Yin or Yang. Thus, the music of "The Godfather" is Yin, but a jazz performance might provide a Yang feeling. Obviously, it works both ways. Yang music such as "Flying to the moon" played very slowly with rubato could provide a Yin feeling. We can find instruments with a Yang structure, i.e., quite high-pitched like the Japanese shakuhachi flute or the Andes quena, but with a more Yin function, as they can emit broad sounds. The drum that emits low sounds is considered to have a Yin structure, but its function is Yang because the sounds are short. Many instruments have a Yin and Yang structure, such as the piano, but a Yang function? or Yin like the cello.

Haragei is based on energies and tensions: Energy corresponds to a single point and tension connects two points. Energy unfolds as a spiral (acceleration and end) while tension corresponds to a helicoid (continuity, sequence). Thus, in calligraphy, you can draw a kanji without lifting the brush; it is a tension. Pausing to move the brush; it is an energy. A fleeting emotion is an energy. A continuous emotion is a tension. An unrelated emotion is an energy. An emotion related to something or someone is a tension. In the case of music, the isolated melody is energy, while the harmony that supports it is tension. Of course, the emotion felt when listening to music is a tension, since it is linked to the sounds heard. Haragei uses the six elements: fire, water, air, earth, wood and metal: Fire relates to everything that is intense, fast, aggressive. Water relates to adaptation, calmness or abundance. Air is defined by change and versatility. Earth brings us back to stability, maturity and wisdom. Wood essentially runs through everything corporeal. Metal connects us to spirituality, elevation, transcendence. Rhythm and melody are also analyzed from the point of view of the four elements.

A steady waltz rhythm or jazz bomb is based on the earth element. A rhythm produced by dense and fast arpeggios corresponds to the fire element. A rhythm based on slow, well separated and regular arpeggios is based on the water element. An irregular rhythm or with rhythmic changes corresponds to the air element (Balkan music in compound measures, Venezuelan waltz, samba for example).

It is the same for the melody: Earth element: a melody in chords like Chopin's prelude in E minor (Op. 28 No. 4). Fire element: study No. 1 for guitar by Villa-Lobos. Water element: Prelude in C major by Bach BWV 846 Air element: "America" by Leonard Bernstein in "West side story".

Instruments are also classified according to the four elements: Wind instruments are considered air. Plucked string instruments where the string also vibrates in the air. Fretted string instruments are classified a s w a t e r, b e c a use the strings do not vibrate in air. Percussion instruments, which require great physical effort, belong to the fire element. The piano, on the other hand, falls under the earth element because of the density of its strings and the vibration that sustains it. The elements of wood and metal, which we have not yet discussed, can be used to enrich the analysis of the functions of music. In fact, music composed for dancing would be linked to the body and therefore to the wood element. Sacred music is related to the metal element.

"Energy corresponds to a single point and tension connects two points. Energy unfolds as a spiral (acceleration and end) while tension corresponds to a helicoid (continuity, sequence)."

To conclude this introduction to haragei through music, we can of course ask ourselves what is the point of applying this old "philosophy" or this way of thinking to music? In fact, if before questioning the relevance of other ways of explaining and seeing the world, we examine the relevance of our own culture; we realize that Western music has a closed notation system for most people and that it is riddled with concepts such as those of tonality, harmony, counterpoint... that allow us to understand it and that only seem to interest us within that culture. However, even if an Arab musician -who uses quarter tones and a modal system- or a flamenco guitarist -whose learning system is based on an oral tradition, again on a modal and polyrhythmic system-, therefore, even if these musicians do not find it useful to explain their music by western concepts, they nevertheless allow it. The same is true of haragei. It simply sheds another cultural light on the music.

"Thus, in calligraphy, you can draw a kanji without lifting the brush; it is a tension. Pausing to move the brush; it is an energy. A fleeting emotion is an energy."

Ref.: • SKOGOReV-30

Personal safety is a set of activities, knowledge and skills that provide a certain level of protection of a person, his family and friends. Only a developed culture of personal safety can reduce these risks. Personal safety is not just physical selfdefense. The perception of the city is broader. It comprises a set of individual skills, knowledge and abilities of a person, which give him an internal state of protection. Nature has endowed humans with amazing survival mechanisms, which over time have strengthened, transformed and adapted to a changing environment. Importantly, these innate instincts manifest themselves outside of a person's will, they work, they are included in the work long before the awareness of a dangerous situation arrives. RMA SYSTEMA Sibirskiy Viun is aimed at practical research and application of tools and methods to create operating systems for fast and effective learning. In this work, Dimitry Skogorev offers a complete seminar on personal safety, analyzing many different solutions, sitting position, against a wall, corridors and corners, knife attacks, multiple attackers, team interaction, as well as the use of everyday objects such as umbrella, belt, hanger, book, newspaper, etc. 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

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.

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.

ORDERS: Budo international.com

Pakawalan: The Art of Weapon Retention Weapon retention is an essential skill that must be thoroughly researched, explored, developed and updated by every serious combat scholar in order for combat to be effective in all circumstances. One of the first issues in combat is being able to maintain possession of one's weapon on the battlefield. If a fighter cannot maintain possession of his weapon for what he intends to do, he compromises his own safety, since the weapon may be taken from him and used against its helpless owner, which will have devastating consequences for him, and may even result in his death. In Lameco Eskrima weapon retention has always been an element to be studied and for this t o b e d o n e c o r r e c t l y, Punong Guro Edgar G. Sulite created a subsystem within Lameco Eskrima called "Pakawalan", in which this matter is dealt with, no matter what type of weapon is being used. Under his tutelage we have conducted specific training to retain weapons such as the stick, knife, machete and various other bladed weapons.

Lameko Escrima

Lameko Escrima hanks to my experience in training elite military corps, I have also been able to train using various firearms, pistols and rifles, specifically when training as Special Operations Soldiers and Law Enforcement Officers, all over the world. Through this training we learned in what situations it was necessary for a soldier to shoot at close range, to avoid having his weapon taken away from him on the battlefield and his survival put in jeopardy. The moment an aggressor can grab or disable our weapon, the risk arises that he will snatch it from us, which leads to a delicate emergency situation that can lead to death; the longer the possession of our weapon is in danger, the more likely it will be used against us. This is a problem that we must solve and therefore we must train all possible options, to gain experience in this matter. To do this we have to analyze the different things that can happen on a battlefield. In the end, experience is the best teacher, as it quickly reveals to us what works and more importantly, what does not work at the moment of truth. The first thing in our training in this subject is that we should always be able to access our weapon to draw and deploy it in a split second, when necessary. Therefore, the system we use to carry any weapon in combat is vital and we must train to be able to draw the weapon with both hands equally, so that in a critical situation

Lameko Escrima "When we understand what it takes to prevent someone from taking our gun from us, we can also understand how to threaten someone else's gun and take it from them against their will."

we can draw the weapon with both the right hand and the left hand. Punong Guro Edgar G. Sulite trained us so that no one should use only the right or left hand, but that we should all be skilled in using both hands and use the weapon with the hand that is closest to the threat, so that we can neutralize the threat more easily. Having a preference always causes undesirable situations when responding to crisis situations in a "specific way", in a "specific situation". When you can respond without having a preference, the problem is not where the situation starts but from where you respond, either with the left hand or with the right hand, and you should not act according to the hand you prefer to use, but according to the one you should use in that specific situation. The second issue to train in this subject, is to know how to respond quickly, with force and with confidence. When someone catches our weapon or the weapon's hand, we have less than a second to avoid that threat or risk of losing the weapon. Punong Guro Edgar G. Sulite used to teach us that if someone is able to grab for more than one second our weapon or the hand wielding the weapon, he will have a good chance of taking it from us, but if he cannot hold the weapon or the weapon's hand for more than one second, then he will not have time to take it from us. That is why it is imperative that as soon as we become aware that someone might try to grab our weapon or the weapon's hand, we respond and switch the weapon in our hand immediately, or we will suffer the consequences of our inability to react in time and in the proper manner. Punong Guro Edgar G. Sulite trained us to respond in thirty effective ways when someone attacks our weapon, either by grabbing, obstructing or attempting to take it from us. The training always consisted of attacking a partner with force and intensity, to try to take control of our weapon. This is how I think this aspect should be trained: without including too much adversity in the training environment, the more resistance and less cooperation there is, the more effective it will be and the better the training results will be. At the opposite extreme, when we understand what it takes to prevent someone from taking our weapon, we can also understand how to threaten another person's weapon and take it from them against their will. Therefore, Punong Guro Edgar G. Sulite trained us to be able to take control of our opponent's weapon and snatch it from him, which has been very valuable in progressing the training, as each student has been able

to come to know what he had to do to accomplish both tasks. Thus, by learning all the nuances of this specific reality, we are able to carry out these things in a way that resembles how they would happen in a real random exchange, fraught with uncertainty and violence. In order to be successful in the face of an attempt by someone to snatch our weapon, we must react quickly in order to escape the grip or obstruction in less than a second, or the adversary will be given too much time and may find a way to take the weapon from us. On the other hand, to be successful in snatching the opponent's weapon, it is necessary to catch the weapon or the hand holding the weapon very firmly, in order to be able to hold it for at least a second. In the case of not being able to maintain the grip for that time, it will not be possible to find a way to snatch the weapon from the opponent. By working from both sides of this combat equation, we will be able to find a way to catch the opponent's weapon and take it from him, and we will be able to develop the responses and technical skill necessary to prevent the opponent from catching our weapon and taking it from us. The end result of all this will be that the student will be able to avoid having his weapon snatched against his will and will

Lameko Escrima "We must carry out challenges in daily training and make adversity show us the way to mastery."

also be able to take the weapon away from his opponent when he has the opportunity. The third and final issue when training this aspect is to prevent someone from obstructing the weapon or stealing it from us before we have even been able to put it into play. Punong Guro Edgar G. Sulite often taught us that when a fight was certain to take place, the best move was to take the weapon away from the opponent before he could draw it and put your life in danger. When we mingle among people, we always look out for those around us who are carrying weapons. In prevention of what may happen, one of the procedures to perform should be to try to avoid the situation where someone tries to steal someone else's gun and can use it to harm everyone around him. Therefore, we must do training to prevent someone from gaining access to our own weapon before we do, as well as develop the ability to steal the opponent's weapon before he can use it. For example, if I carry three knives all the time and am able to steal my opponent's weapon before he can draw his, then I would have four weapons and my opponent would have none. Therefore, I would have the full advantage. To successfully train this system known in Lameco Eskrima as "Pakawalan", "Art of weapon retention", it is necessary to train to quickly access one's weapon and quickly draw it with both hands and use it as the situation indicates. In addition, we must train to respond positively, making sure that the opponent will not be able to have control of our weapon for at least one second, neutralizing all his attempts to grab our weapon, or the hand wielding the weapon, or to obstruct our weapon and thus be able to use his weapon without any hindrance. Finally, we must train to prevent the opponent from stealing our weapon before we can take it out to use it and also be able to steal or obstruct the opponent's weapon and thus prevent him from using it. The ultimate goal is to gain access to our weapon, draw it without hindrance so that we can use it and thus survive a combat situation without serious injury. When training as if our life depended on it, we will also fight that way. We must carry out challenges in daily training and make adversity show us the way to mastery.

Lameko Escrima

"Punong Guro Edgar G. Sulite was training us to be able to take control of our opponent's weapon and take it away from him."

Shaolin Arts He belongs to that first exceptional generation after the opening up of the Shaolin Temple to the outside world. He participated in those first exhibitions outside of China that amazed the world and fomented the renovation in our days of the myth of the most famous Martial Arts temple. Shi Xing Hong was endearingly called “the machine” by his friends because his execution of the forms was of such incredible precision, speed, and power. The first time that I saw him he was a shy young man who ate the world up with the awakened eyes of someone living out a dream. Now he speaks correct English and teaches across half the planet. In this interview, he speaks openly for the first time about his experience in Shaolin since he was a child, about Martial Arts, the philosophies of the temple, his life as a monk, and innumerable aspects that will allow us to know more about the truth of the Shaolin Temple. Always reluctant to be recorded, he has agreed at last to do an instructional piece on DVD with Budo International so that students of the style can enjoy his teaching. For that, he has

compiled the movements that make up the essence of the style and teaches them one by one, giving us the opportunity to understand the fundamentals that are the essence of the Shaolin warrior Arts. Alfredo Tucci

Shaolin “In 1989, when the Shaolin Temple decided to show itself to the world, I was one of the monks chosen to do Kung Fu exhibitions and to show what Shaolin Kung Fu is in other countries.”

Shaolin Arts

“When I was nine years old, my parents realized that I wasn’t a very good student, for that they thought about how they could improve my expectations about the future, and they took the decision that they considered the best, which was to send me to the Shaolin Temple, because perhaps the fact of studying there could change my life, offer me a good future.”

Interview Shi Xing Hong Budo International: Firstly, I would like to thank you for your presence once again in our magazine. Shi Xing Hong: You’re welcome. It’s an honor. Budo Int.: Let’s start at the beginning. At what age did you join the temple and why did you decide to do it? S.X.H.: I joined the temple when I was eleven years old. The city where I was born is very far from the temple, in the south of China; it takes two days by train to get to the temple. When I was nine years old, my parents realized that I wasn’t a very good student, for that they thought about how they could improve my expectations about the future, and they took the decision that they considered the best, which was to send me to the Shaolin Temple, because perhaps the fact of studying there could change my life, offer me a good future. So they took me to the Shaolin temple, but in those days in the temple, they didn’t accept people who were so young, and for that they didn’t allow me to join. They told me that I should study outside for two years, and my parents decided to send

Shaolin Arts me to a special school so I could train for those two years in order to later be able to be accepted in the temple. That’s what they did and I stayed in one of the schools that surrounded the temple back then. One day a Shaolin monk who went to the Kung Fu schools choosing children for the temple (for every hundred students, they chose fifteen), he noticed me and that’s how I joined at eleven years of age. My training since then was much more intense. We trained for six hours a day, even during the night! We practiced Kung Fu all the time. Budo Int.: When was the first time you traveled outside of China? S.X.H.: In 1989, when the Shaolin Temple decided to show itself to the world, I was one of the monks chosen to do Kung Fu exhibitions and to show what Shaolin Kung Fu is in other countries. The first time that I traveled far from China was in 1991; I traveled to Italy and Milan along with another five monks. That was the first time that people outside China were taught what Shaolin Kung Fu was. Budo Int.: It’s curious that your parents, living so far, decided to take you to Shaolin. How did they come to that conclusion? S.X.H.: Well, as I said before, I wasn’t a very good student, I was

Shaolin Arts

always failing and making errors in school, but, on the other hand, I liked Kung Fu a lot. Many people in my city practiced Kung Fu and in China everyone who practices Kung Fu dreams about going to that temple. My parents were sensitive to that and without a doubt it was my destiny, so I can say that I was very fortunate. Budo Int.: Had your father practiced Kung Fu previously? S.X.H.: He didn’t practice Kung Fu, however, he studied in the Chinese Opera. The training that one does in the Chinese Opera is very similar to Kung Fu, for that my father always liked Kung Fu.

Budo Int.: You’ve told us that you were part of the first group that left the Shaolin Temple to do exhibitions around the world, in this way beginning a new era for the temple. Some of those monks are now outside of the temple. What is the reason for this exile? S.X.H.: Our generation of monks descended from another generation. Throughout the history of Shaolin, there have been many generations, and each one has changed something with respect to the previous. We have been fortunate because we were in China when the country opened its doors in order to show the world our culture; at that time, the Shaolin Temple also

Shaolin Arts

opened up, also in order to show the world what Shaolin Kung Fu is. Our generation had the immense luck to travel to many countries around the world, and what we saw seemed fascinating to us, especially to see what life was like in other countries. For that, the members of the first team after leaving our country repeatedly to do the exhibitions decided to leave and look for their own future. Shaolin many times acts like a university, many people live there, practice there, make themselves strong there, and then they leave. For example, among the people of my team, there were many options: some made films, others founded schools… others left to live in other countries. And though it is oneself who chooses the path to take for the future, you can always retur n in the case you have some problem with your experiences in “society.” You can always consult the master, and he will try to help you. Our generation has decided to leave, to leave the temple; even the masters who preceded our generation encouraged us to leave in order to try life on the exterior, to know society, to know the human being; if you close the door and stay there, you will never know what’s happening; you’ll be good at Kung Fu, but that won’t be good for you mind, nor for your heart. They say to us: “Travel, know the world, but if you have problems, come back.” Budo Int.: How many years did you stay in the temple? S.X.H.: 15 years from 9 to 26 years old

Shaolin

Shaolin Arts Budo Int.: What do you believe characterizes Shaolin? On what is the difference with other monasteries based? S.X.H.: Though the Shaolin Temple is now very famous, few people really know what this is due to. Everyone believes that it is for the Kung Fu, but it is Zen Buddhism that characterizes and gives force to Shaolin. Zen is what makes you have a clean mind, have an open heart, what helps you know yourself, discover your future, know who you are, and find yourself on your path in life. This has been the meaning of the temple through the centuries. Not only the Shaolin Temple has this; Zen is also sought in other temples, but the Shaolin Temple is without a doubt the reference in this area. This is what I am now doing by founding a federation, to make people understand that things mustn’t be used for the name that they have; names are not important, the important thing is the use of things in oneself; what you learn, what you achieve, that is what counts. You can learn to be stronger as a person in life. The strongest thing in Shaolin is Zen!

“The first time that I traveled far from China was in 1991; I traveled to Italy and Milan along with another five monks. That was the first time that people outside China were taught what Shaolin Kung Fu was.”

Shaolin

Budo Int.: These things you are saying make me think about something. Are we Wester ners sufficiently open-minded to practice Zen to the same extent as Wu? Or do you think that probably 75-80% of the people here look for the Wu, that is, Kung Fu as a Martial Art and only around 20% or less look for Zen in the spiritual sense? What do you think is the percentage in Western societies? S.X.H.: I believe that people here in the West mostly follow their eyes. They want to see it all. Only if they see something powerful do they believe that that is the

adequate choice. And though we all know that what comes to the eyes is not what we have to necessarily follow, the West follows it. For that do they lose themselves, because when they realize what path they have to follow in their trip through life, it is already late, they are ill. In the West, when people see something attractive, they follow it. They never follow themselves! They follow the society. Later they wonder, “What have I been doing all of my life?” But very often it’s late, for that reason, during their time (of life) they don’t attain freedom (satori).

Shaolin Arts “Though the Shaolin Temple is now very famous, few people really know what this is due to. Everyone believes that it is for the Kung Fu, but it is Zen Buddhism that characterizes and gives force to Shaolin.”

“Not only the Shaolin Temple has this; Zen is also sought in other temples, but the Shaolin Temple is without a doubt the reference in this area.”

Shaolin Budo Int.: Well, that isn’t entirely fair! I don’t think it’s exclusively a problem of Westerners. What you have said is something perfectly applicable to the Chinese, Africans, or Americans. This seems to be a common “trip” for all human beings. S.X.H.: Yes, for everyone. For example, now one can see how the Chinese economy is opening up and developing very quickly. Everyone is chasing money, the economy, material things. Of course we human beings need that. It’s only that when people have achieved it they think about what they have lost. Budo Int.: In that case, tell us, from your experience in the West, what is the percentage of people who are interested in Zen? Would it be correct to say that only 10% are interested in Zen and the rest only in Martial Art? S.X.H.: Well, one can say that out of every ten people, eight look for Kung Fu and only two are seeking Zen. Budo Int.: Well, that’s 20%. You’re more optimistic than I am! S.X.H.: For the Westerner, the most important thing is to attain external power. But, one has to go step by step; a person must reach this power, but afterward he must reach more elevated goals, he must try to reach the highest level possible. Allow me to give an example: I can say that people who practice Shaolin can come to stop time when they meditate. For that, when they have to leave, they walk happily toward death. People, when they verify these kinds of achievement that we attain, ask themselves: Why are they able to do that? They seem not to understand that they could also do it! But they don’t look for it, and if you only concentrate on the material part, you will never be able to attain these achievements. Budo Int.: Please tell us a little about what you are going to teach on this first video for Budo International.

Shaolin Arts

S.X.H.: I’m very pleased to have done this video. And what I’m going to teach on this video is the first step that people have to learn in order to come to learn Shaolin Kung Fu. This first step consists of learning the eighteen basic movements. These eighteen movements of Shaolin Kung Fu are very important. If you learn these movements, later it will be very easy for you to learn the rest. If you know these basic movements, you can learn any form of Shaolin Kung Fu. I would like people to learn Kung Fu well. One mustn’t dedicate oneself only to the forms. They must practice what is really important, energy, chi, power. Budo Int.: You are teaching these eighteen movements, and these eighteen movements are related to the forms. They

are a kind of line of combined movements, offensive and defensive. Do you also teach the reaction of the fighter? S.X.H.: That’s right. From these movements a form comes out, what we call Kung Fu Chan; this form would be the first step to acquire other powers, other abilities, in order to get the unity, and when you achieve it, you feel the different energies. Budo Int.: Does this include something related to Chi Kung, or Ki Gong, etc.? S.X.H.: Well, you know that training each form, you need Chi Kung, you are prepared for this even if you don’t know that you are practicing Chi Kung; when you practice, you attain force in the muscles, and you have Chi Kung within. Of course, afterward, one has to learn how to attain chi through meditation.

“For the Westerner, the most important thing is to attain external power. But, one has to go step by step; a person must reach this power, but afterward he must reach more elevated goals, he must try to reach the highest level possible.” “If you know these basic movements, you can learn any form of Shaolin Kung Fu. I would like people to learn Kung Fu well. One mustn’t dedicate oneself only to the forms. They must practice what is really important, energy, chi, power.”

Shaolin

Shaolin Arts

“I believe that people here in the West mostly follow their eyes. They want to see it all.”

This is what we are now teaching, the necessary exercise to first achieve having a comfortable body in order to later achieve greater development. Budo Int.: I was thinking about this association that you have created with some friends and that has become a European federation. Tell us something about this project. S.X.H.: In 2000 we had the idea for this federation, which was born in 2002. It’s a new federation that we call International Chan Wu Federation. In it, if someone wants to practice Chan (Zen), we have a master who teaches that. If someone wants to practice Shaolin Kung Fu, we have experts in Shaolin Kung Fu to teach him. If someone wants to practice Tai Chi, we have experts in Tai Chi to teach him. If someone wants to practice modern Wu Shu, we have experts in modern Wu Shu to teach him. If what you like is traditional Chinese medicine, we also have doctors specialized in traditional Chinese medicine. So, we have very specialized professionals. In our federation, you can find things like Zen and Wu that are in all Chinese Martial Arts. When we came to Europe in 2002, we tried to focus on what we could do for people, for their well-being, and the truth is that we have had a lot of success in these three years. Budo Int.: What changes have you noticed after the old leader of Shaolin passed away? And now you have a new person governing Shaolin. Of course, this is a new person with different characteristics. There are people who say there is political pressure on Shaolin. What is the position of your federation with respect to this?

Shaolin

Shaolin Arts S.X.H.: Well, as you know, our federation doesn’t need authorization from the Shaolin Temple. We don’t need anything from them. We do this by ourselves. And these federations are developed by our hands. And Shaolin Kung Fu is only a part of this. I am the representative of Shaolin Kung Fu. But in the federation there are many other things; it’s about Martial Arts from China. In the Shaolin Temple, they have their rules and their religion, but they are a kind of support for our federation. I don’t believe they can tell us that we can’t do something. Budo Int.: Is Shi De Yang in your federation? S.X.H.: Yes, he is a Zen Master, and that is one of the lines of the federation; he is teaching Zen. He is a monk and he teaches what one must achieve to be a monk. For example, if a student comes to me, I tell him that if at some moment in his life he wants to be a monk, I tell him to go to see Master Shi De Yang, because he will show him what the way is that must be followed to be a monk. Budo Int.: Thank you for your time and for sharing your vision with our readers. S.X.H.: Thank you for all the work you have done these past years; it is very much appreciated by all of us who come from the temple.

“Now one can see how the Chinese economy is opening up and developing very quickly. Everyone is chasing money, the economy, material things. Of course we human beings need that. It’s only that when people have achieved it they think about what they have lost.”

Shaolin

“Well, one can say that out of every ten people, eight look for Kung Fu and only two are seeking Zen.”

Shaolin Arts

“I’m very pleased to have done this video. And what I’m going to teach on this video is the first step that people have to learn in order to come to learn Shaolin Kung Fu. If you learn these movements, later it will be very easy for you to learn the rest.”

Shaolin

Sifu David Delannoy presents his second work, focused on Jeet Kune Do and Self-Defense and built like a puzzle. It highlights and puts into practice some very important points in self-defense, such as the three phases of an aggression, body movement and shifting, opening of the visual field, response to an aggression according to law, physical destruction, vital areas, etc. With respect to the doing away of the physical threat, one of the essential principles of the Philippine martial arts is applied: the overriding of the attacking member and the importance of immediate responding to an aggression immediately when they hit us. Our response to aggression is simply proportional and immediate to the attack. Then, we configure the puzzle by adding elements depending on the development of the situation. Sifu Delannoy explains in detail the vital points and essential areas, the pinching, how to protect against a boxer, displacements and visual field, protections and destructions against simple attacks, reactions to strangulations, grips and headbutting, how to use the attacker’s body as a shield, defenses against stick and knife attacks, the use of everyday objects to defend ourselves. In case of aggression, respect for life, lucidity and survival instinct are necessary parameters that make you make good decisions.

Ref.: • DeLJKD-2 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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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

Budo “Dear Reader, we both know that the Martial Arts represent a lot more than just a sport or a hobby or a system of defense.”

BUDO "MARTIAL ARTS": A GLOBAL VISION Martial Arts The Path of the Warrior

"An impressive documentary" GIFT "THE DRAGON" WILSON "The Martial Arts as they have never before been presented" ENRIQUE PERERA (UNIVERSAL) When "Universal" contacted us through its European channel and asked us to put together a documentary on Martial Arts, I got very excited and it didn't occur to me how difficult it would be to present the Martial Arts with all t h e i r r i c h ness and variety in a one hour program. Indeed the challenge was twofold because I had to address a public with little knowledge of Martial Arts as well as the expert public that makes up our audience, a fact that was more important for me! I don’t think that it is false modesty to say that we achieved our

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Budo objectives. My neighbor's mother had never heard of Martial Arts before watching the program, but she enjoyed it as much as my gym partners! Thanks to the whole team and especially to Javier Estévez, our audiovisual director, we produced a beautiful and meaningful work, full of r hythm, comprehensive, dynamic and with great pace and rhythm. The scenes constantly changed so that one minute you are in Japan, then Brazil, then the USA, China, Thailand or on an Italian street. The program included the best of the living Masters of today. This ar ticle pr esents no mor e than a synopsis of the original draft that gave birth to the script, which is a lot more extensive and with the participation of many more experts. I am proud to say that this is the most honest contribution that I have made so far to the diffusion of Martial Arts, and I hope that you enjoy it as much as I did when I wrote it. It will soon be available on DVD and video.

Budo D e a r R e a d e r, w e b o t h know that the Martial Arts represent a lot more than just a sport or a hobby or a system of defense, they are also a way of life and a road to consciousness and personal growth. The Martial Arts are "The path of the Warrior."

“As a sport, a way of life or even a show, the warrior arts and warring disciplines have captured the attention of man from time immemorial.”

Budo Martial Arts The Path of the Warrior As a sport, a way of life or even a show, the warrior arts and warring disciplines have captured the attention of man from time immemorial, as much in Oriental cultures as in Western ones. The Arts of the god Mars have completed their irreplaceable mission in the history of man. The warring classes that were dedicated to maintaining the security of the group became the militia; in this way soldiers and thus modern armies were created. However the original spirit that came from the first Shamans or medicine men, those especially skilled individuals in the group that adopted a natural position of leadership because of their physical and mental capacities, was never lost as a lineage of men skilled in training formulas that motivated them to constantly seek to improve and exceed themselves. From a sport perspective there is the Korean tradition, directed mainly by Taekwondo, which has been able to take most advantage of its diffusion in the West, a fact supported by its inclusion as a sport in some Olympiads. But the Korean tradition is not only Taekwondo, and in fact it is only a part of the warring Arts in this country, the part that is related to strikes and kicks. In a certain way in its genesis it took a similar formulation from the Japanese model of Karate. At the moment it is divided into two organizations: the WTF, World Taekwondo Federation that is recognized by the International Olympic committee and the ITF, International Taekwondo Federation, which is still governed today by the creator of the style, General Choi Hon Ji. Although its movements resemble those of Karate greater priority is given to the use of the legs. We can say that it is an Art dominated by a centrifugal force, while Karate is dominated by a centripetal one with more open movements, higher positions and expansive and rising techniques that can sometimes be truly spectacular. But the origin of these arts resides in formulations that are much broader and complete and include the use of weapons, throws and dislocations. The two most important schools or styles are Hwa Rang Do, the Martial Art that was performed by the elite of

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“The Arts of the god Mars have completed their irreplaceable mission in the history of man.”

"If you are pushed you should give a little and move backwards slightly and if you are pulled, then move forward."

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The Documentary the knights of the palace in Korea and Hapkido, which is an Art with certain similarities to Japanese Aikido but a lot tougher and more decided in its attacks. As in Aikido, the enemy is forced to rotate around the defender breaking the lines of attack with specific actions that take advantage of the strength of the attacker’s response. In the United States, the sport of Karate has accredited spectacles like Mike Anderson’s kickboxing, Full Contact, and Sports Karate.

MIKE ANDERSON: "I believe that the sport aspect is extremely important in Martial Arts. There is an expression that says: You cannot swim until you can jump into the water. Following the same rule, you cannot fight until you fight for real. How do you practice your Martial Arts techniques? You cannot go outside and become a street fighter in two or three days, so the best way to learn how to apply those techniques in an effective way is through sport, face to face with another person in the ring, in a tournament or even in school. This is how you learn how to fight, by fighting. If you practice the techniques every night in front of a mirror, but you never have contact with anybody, you will never be an effective fighter. The only way to be an effective fighter is by fighting for real." But nowadays Martial Arts fulfill a multiple social function. From a historical perspective – from the formation of security forces to an educational one - the work of Martial Arts Masters is not adequately recognized in modern societies. However factors like civic safety have brought about a rebirth in the awareness that the public has with respect to these practices.

Personal safety is without a doubt one of the main m o t i v a t i o n s of neophytes to begin practicing Martial Arts. Effectiveness and the search for a perfect and invincible technique have been a constant motivation for the Masters to develop their Art. In Japan at the beginning of the 20th Century Jigoro Kano established a philosophy of action that was summarized in one word – JUDO, based on the old schools of Jiu Jitsu. JU-DO literally means the way to softness. How do you confront force without force? Kano established some conceptual parameters that gave sense to a confrontation between litigants expressed in his famous aphorism: "maximum effectiveness with minimum effort". Kano discovered this principle by observing nature during his retirement in the Buddhist Monastery of Eishoji. There in meditation, he saw how the bamboo survived by bending under the weight of the snow much better than the branches of an oak tree that broke under its weight. In this way he set done the principle of Judo, "If you are pushed you should give a little and move backwards slightly and if you are pulled, then move forward." The Japanese tradition of Jiu Jitsu has been so rich and inspiring for fighters that many years later during the decade of the 90’s a new phenomenon entered like a revolution in the world of combat Arts. The Japanese tradition was brought to the North of Brazil with the arrival in those lands of a Japanese nobleman, Count Koma. By way of showing thanks, Count Koma taught the members of the Gracie family the techniques of the "soft Art" that his family had maintained as a secret for generations. The result was the creation of the most famous world saga of fighters in our times, the Gracie family. Rorion Gracie, the head of the last generation of this family, immigrated to the United States and with John Millius, the director of Conan, he managed to put together a show that broke with all the preconceived existing ideas about fighting when he created the Ultimate Fighting Championships combat without rules. In them, he demonstrated that his focus was more effective than any other and everyone that his brother Royce fought was defeated regardless of the style that they practiced. The explosion upset many preconceptions that existed at the time and the Gracie brothers brought attention to a new way of looking at the combat arts. However and in spite of the great impact that predicted the end of these traditional arts, instead expectations grew. Now nothing would ever be the same and the important word was efficiency and everyone kneeled before this new golden idol. Traditional forms from China like Wing Chun that included concepts of real combat took on an even bigger role. In fact, Bruce Lee studied the Art of Wing Chun in Hong Kong with the mythical Yip Man. Leung Ting was one of his last students and without a doubt the most famous.

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LEUNG TING: "The Wing Tsun style is a combat system which uses an extremely practical technique to fight against force, or put another way, to fight against the most powerful opponents. It has to be understood that we are not bulls or gorillas and there is no reason to use brute force. Unfortunately, our enemies are usually always much more powerful and stronger than us, and so Wing Tsun teaches us how to use a special type of techniques that allow us to impose ourselves upon our opponent’s brute force." One of the most admired Masters of this art is Victor Gutiérrez. Educated in Germany, this Master has made a unique impact with his videos on the international panorama of combat arts. His particular pedagogy with regard to his students, is one where he constantly reassesses the most effective ways to confront a situation of danger. There are also other barely known traditions that have appeared forcefully on today’s panorama of combat arts. There are styles that come from very diverse cultural environments like Hawaii and the Philippines and which have attracted the attention of experts and students alike. The rich tradition of Spanish fencing, which had been forgotten and lost in Europe, has nevertheless been conserved in another distant cultural environment, that of the Philippines. Maurizio Maltese is one of the most important experts in Martial Arts in Southeast Asia. He has carried out a great deal of diverse field work collecting, recovering and even teaching the traditions of some almost forgotten styles so that the anthropologists can study certain aspects of the culture that is only accessible to them through the practice of the Martial Arts.

One particularly interesting aspect of his work is that of the secret combat forms of the ancient Italian Camorra.

MAURIZIO MALTESE: "These Martial Arts from the Philippine Islands represent substantial innovation because they presuppose a fusion of the East and the West. Among the diverse arts that have been developed in the archipelago that is the Philippine Islands, are the well-known Martial Arts known as Arnis, hand Arnis, and Eskrima or Kali. The two first ones: Arnis and hand Arnis, remind us immediately of the original Latin name and Arnis could be the result of a corruption of the Latin term "Armis" that means weapon." The Philippine styles are a conglomerate of traditions, the fruit of hundred of invasions. Latosa Escrima, that is to say, the fencing of the Latosa family, is one of those outstanding forms of Filipino combat. The family immigrated to the United States and after several generations of keeping their art a secret, they began to spread it during the last few decades. Some of these more or less exotic arts have become popular among enthusiasts from all over the world. Polynesian Arts like Lima Lama, Hawaiian styles like the Lua of the great Master Solomon Kaiewalu, Filipino forms like the Arnis of Master Tasingco, the Koredas Arnis of Master Bersabal, the Indonesian Pentjack Silat, and Thai Muay Thai have ended up penetrating a market that up to now has

Budo been centered only on Japanese styles. Marco De Cesaris is one of the most important world experts in the Art of Muay Thay and he belongs to the board of directors of the World Federation of Muay Thai.

MARCO DE CESARIS: "The martial traditions of the Old Kingdom of Siam are a cultural treasure that has always been part of the interest protected by the dominant classes of the country as well as the nation. In particular two different eras can be distinguished in what refers to the development of the Martial Art that we are dealing with. The first one is characterized by combat without the use of protection, and where the opponents used cotton rope wrapped in a very complex way to cover their hands, ensuring that the strikes they delivered were devastating. Secondly, there is present day Thai boxing, which uses the English term Thai Boxing and is played out in

the ring. It is derived directly from boxing and is common to all combat sports. Gloves of different weight are used according to the characteristics of the athletes, and they are allowed a series of blows and offense actions that are much more limited with regard to those of Boran Muay Thai." These styles, which are so seemingly diverse, possess a common open focus and a capacity to incorporate what is valid or effective, and this is in fact the characteristic that defines modern Martial Arts. This new form of training or Cross Fighting invites the student to take the best from each style and adapt it to his own physical and temperamental characteristics. Bruce Lee defined it perfectly in his famous slogan: "Take what works and get rid of everything else." This philosophy was ahead of its time in terms of future tendencies as was another of his mottoes: "Art should serve the artist and not the other way round." This open and reformist attitude was particularly appropriate in the United States of America due to its peculiar cultural immigrant nature. The father of this

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The Documentary revolution was the Great Master Adriano Emperado, creator of Kajukenbo. At 83 and after several heart operations, Master Emperado still continues to teach his Art which today has spread all over the world.

ADRIANO EMPERADO: "Yes, my style is different, it is very tough and pragmatic and is a combination of intense active techniques. When you see that your opponent has fallen to the floor, don't stop, don't allow him to stand up again! If he moves it means that he is still alive! If a student wants to learn other forms or techniques, I always tell him: If you feel like learning another style in order to evolve and develop and improve, then do it and good luck to you, but don't forget your genealogical tree and your roots." These efficiency-based lines of combat, also called external styles, had overlapping success during the last hundred years with the internal lines, which focused on the development, recovery and maintenance of health. Tai Chi has been and is the most extended and well known of these forms of Martial Art. During the sixties the Beat generation was fascinated by demonstrations of the power of the Chi or the interior energy that the great Master Chen Man Chen carried out in California. Two big schools of Tai Chi exist: the Chen and the Yang schools. Both base their practice on the forms, which are a combination of pre-established movements with a special rhythm and energy that generally represents a combat against one or several virtual enemies. The forms or Kata in Japanese, are present in almost all the Oriental styles and their function is not only to develop the student's technique but also to facilitate his memorization of the principle movements. Through their execution all the energy circulating in the body is activated and the practitioner enters into an extraordinary state of concentration. Although in other Oriental combat arts, Kumite or Randori in Japanese combines with the practice of forms, in Tai Chi the forms are the most important. The most important Master in China is Master Fu Xeng Yuan, great great grandson of the creator of the Yang style. Against all odds, his family has conserved the tradition of some forms that are without doubt the most popular in Chinese Martial Arts. But Shaolin is the cradle par excellence of Oriental Arts. Shaolin jumped to fame because of the Kung Fu series with David Carradine playing the famous "little grasshopper". The series had the biggest success so far for a martial arts

“Yes, my style is different, it is very tough and pragmatic and is a combination of intense active techniques.”

Budo television series. The series was an original idea of Bruce Lee, although not many people know this. The producer didn't want an oriental to have the lead role in the series and Bruce was pushed aside. After the great success of this series the Chinese government realized the potential and relaxed the restrictions on the traditional arts so that they could collect income from tourism. However, the internal line of the monastery decided to take advantage of the occasion to perpetuate the warring tradition of the Temple. It was a strange combination of Buddhism and Martial Arts. The highest ranks of the temple have encouraged and expressly authorized Huang Aguilar to spread the true Art of Shaolin far beyond its folksy and showy aspect by means of his audiovisual encyclopedia of Shaolin. It is a wonderful paradox that explains much of what is happening at the moment with the Martial Arts in the global village: the fact that a young man living in the Basque country in Spain is commissioned to preserve a millennial Chinese art.

“Kung-Fu is an art that can even be practiced at an advanced age: it is one of the few Martial Arts that can be done up to eighty or ninety years of age.”

Other Western Masters have received the same weighty responsibility. Master Cangelosi in Italy dominates some Chinese secret forms that his teachers passed on to him and styles like Hung Gar or Pa Kua are acquiring unprecedented importance that was unthinkable only a few years ago.

PAOLO CANGELOSI: "Martial Arts is a personal guiding discipline, it offers a holistic form of education and a strong point of reference. A person who practices any art, like music, painting, song, and certainly the martial arts, engages his personality, his character, his emotions, his body and his energy. Kung-Fu is an art that can even be practiced at an advanced age: it is one of the few Martial Arts that can be done up to eighty or ninety years of age." The Arts of war are more than anything else combat Arts. But as the saying goes everything has its opposite and peace is not the opposite of war. The opposite of Eris or war is Eros, or love. In Greek mythology, Eros or the force of universal attraction, is the daughter of Chaos and the sister of her opposite and complementary Eris, or war, the symbol of the forces of repulsion. Warriors have cultivated an awareness of the finite in all the traditions. The proximity of death transformed their

Budo consciousness and gave them a deeper understanding of the phenomena of life. Similarly, the forces of light and darkness are in opposition in the cosmic dance of life and death in the Hindu tradition Sri Dinesh has worked all his life on the path of the warrior starting from the Hindu tradition. However, his experience has been and continues to be very useful for practitioners of other styles. The internalization of movements, flexibility and breathing control that Yoga brings make its practice the ideal complement for the most famous fighters of the moment like Rickson Gracie.

SRI DINESH: "Yoga, as a discipline, was created nearly five thousand years ago. Concentration is an essential factor in the practice of the Martial Arts. It is a fundamental point of strength because without mental concentration one cannot work at maximum intensity, and we can’t apply all the natural forces and their dynamic processes. In particular, when you have to send energy from a certain point by means of a movement of the body with an extremely precise, balanced and intense impulse, this would be impossible without using

“Concentration is an essential factor in the practice of the Martial Arts. It is a fundamental point of strength because without mental concentration one cannot work at maximum intensity.”

Budo concentration. My experience is that concentration is not only mental, there is also a deep emotional concentration that is developed in the practice of the Martial Arts." More and more Yoga is becoming part of the training routine of martial artists; it not only gives them magnificent flexibility but also helps them to avoid injury. Yoga stretching and strengthening exercises stimulate the formation of longer muscle fibers that in turn generate a greater explosive power for impact techniques and certainly a bigger resistance to dislocation techniques. Yoga is also a form of meditation that slows down functions and gives the practitioner more concentration power in situations of maximum stress like combat environments. But the disciplinary Arts are necessarily a confrontation with violence itself. It is a well-known fact that their practitioners tend to be especially calm people.

ROSA MARÍA DISTEFANO (psychologist and expert in bioenergetics): "The Martial Arts teach us to look that at the person in front of us, our opponent. Our adversary, the "other", is present as much in the Martial Arts struggle as in the struggle of life, and this experience motivates us to relate to other people and what they signify. Practicing Martial Arts means being able to carry out the techniques using not only your arms, feet and elbows, but your whole being in each action." Although the military Arts have moved far away from the initial concept of Eastern traditions they have used and still use martial techniques for their instruction today. In spite of the sophistication of technological weapons, the infantry will always exist in as much as someone will always have to occupy the conquered territory at the end

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“The Arts of war are more than anything else combat Arts. But as the saying goes everything has its opposite and peace is not the opposite of war.”

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The Documentary of the day. Thus, command training includes attack and defense techniques that are more sophisticated day be day. The security forces and public order forces each day receive more training in the Martial Arts. A good example of this is Master José Cuspinera who has trained the special services in Kansen Ryu - a lethal style for facing armed enemies - in his native country, Cuba. Without any doubt, Okinawa was one of the key points in the development of the disciplinary arts. Nowadays the old Masters still teach the techniques and the ancient katas where farming tools were used as weapons. Throughout history Okinawa has suffered countless invasions, the last one came from the Japanese Empire and took place in spite of the warring character of the inhabitants of the Ryu Kyu archipelago. The use of weapons was prohibited and resulted in the extreme situation where one single knife was tied to the center of the main square so that the women could cut their vegetables. However, instinct and ability led the town’s folk to create an entire combat system based on their work tools. But it was in empty hand arts that Okinawa made the biggest contribution to the Martial Arts history of the world. The great Master Guichin Funakoshi systematized empty hand techniques, or Kara-te techniques. However, their origins seem clearly influenced by the techniques of Chinese boxing that some experts imported to the islands and transformed there and which are known as Okinawa-te or fist of Okinawa. In their katas, these ancient styles have sequences that also correspond to forms characteristic of Shaolin. But whatever their origin, one thing is sure, that in its new systematic form Karate

“Practicing Martial Arts means being able to carry out the techniques using not only your arms, feet and elbows, but your whole being in each action.”

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“- To flow like water, glide like a cloud -, the Zen sentence defines for us perfectly the objective of every Martial Art at its highest level.” conquered the world during the 50’s and 60’s. All Martial Arts at that time were a form of "Karate" that had very wide dissemination. Karate is an effective defense system, and a balanced and complete form of gymnastics. It is also a kind of encounter with oneself, and a meditation in movement. Japan like China has been generous in its contribution of warring styles. Japanese executives discharge their aggressiveness with Kendo training, and even in the West this beautiful Martial Art is gaining more and more acceptance with every passing day. Its techniques are simple, a strike from above to below, from right to left, from left to right, and then the punch. It is not complicated, and its magic lies in the moment before its application: choosing the best moment, acting with the necessary determination, breaking your opponent's concentration in order to enter his territory, and achieving that contemplative state that allows you to perceive your opponent and be one step ahead of him, which in Japan is called Sen no Sen. With Iaido, Kendo shares the concept of the sword as a weapon. In Iaido a royal sword is used in the art of unsheathing and cutting. The Japanese katana, which are famous for their lightweight and strength, are made with different types of steel. The ones that are softer in the center are more flexible and the ones that have harder edges have greater cutting capacity. Iaido requires maximum concentration; each movement possesses the premeditation and the force of a mortal blow, so much so that even if he is only training, the Samurai shakes his sword to remove his enemy’s blood from the blade, before sheathing it. One of the greatest Masters in the history of modern Japan drank from these traditional Japanese arts known as Bujutsu. Morihei Ueshiba was a charismatic and special character. He studied the traditional schools of the path of the warrior like Daito Ryu, the

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Budo Japanese animist tradition of the Shinto of the Omoto sect, and he created Aikido: the way to unite energies. The thesis of Ueshiba was to go a step beyond that of Jigoro Kano: "I don’t only give when you push, I also pull you". The result is a centered form of combat Art par excellence. There is no attack or defense, only a fusion

with the opponent. The enemy doesn't exist, instead it is a meeting of two forces, an encounter that we take to its full consequences rather than being in opposition to him. Most of the lines of the work of Aikido, especially those closest to Aikikai, its Japanese center, prefer to conserve a way of working that is united with the direct teachings of

“At that time the path of the warrior was what it had always been: a path to consciousness, a path toward oneself, a path to internal growth.”

Budo

The Documentary the creator of the style. Yoshimitsu Yamada shines among these Masters. He is an indefatigable traveler who teaches the art of his Master Ueshiba everywhere in the world but especially in North America. Ueshiba saw his BUDO essentially as an Art of peace. His obsession with this perspective even led him to China when it was at war with Japan in an attempt to contain the aggression. With him the warring Arts of traditional Japan reached their highest expression as Arts for peace times. At that time the path of the warrior was what it had always been: a path to consciousness, a path toward oneself, a path to internal growth. "To flow like water, to glide like a cloud", this Zen sentence defines for us perfectly the objective of everything martial at its highest level. To be at one with everything, to unify your body, emotion and mind in a clean, impeccable act, fully realized in the here and now. This is the warrior's path, a path that started with the beginnings of humanity and that is becoming more and more refined, sophisticated and varied in its cultural forms through a Universe of styles that explores all the possibilities of the human being. It is a path that teaches you how to alter some of the pain of life simply by means of personal effort, a path to health, harmony, of power, a treasure of tradition that is always open to the future.

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.

ORDERS: Budo international.com

Ref.: • AfLOReS1

Guro Ariel Flores Mosses introduces for the first time, how the fighting arts of Punong Guro Edgar G. Sulite of Lameco, GM Christopher N. Ricketts of Ilustrisimo and GM Conrad A. Manaois of Manaois Eskrima transitions to Firearms combat training. Guro Mosses shares the Importance of footwork such as Retirada Ilustrisimo, Retirada Caballero and Hakbang Paiwas and the effectiveness of footwork to create the distances and angles you need to pull off your arsenal. Long, Medium and Close range drills are shown to understand where to place yourself against an opponet(s). In addition, Guro Mosses covers the transitional techniques thru various firearm drills including LIVE FIRE exercises and for the first time on DVD shares the "MG-5" gun retention technique against any attacker attempting to seize your gun. These training drills are a must for any level or discipline and reveals the practicality of the Fighting Arts of the Philippines.

ORDERS: Budo international.com

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 - NEW DVDs! ............................................................................................................................................................... 135 - DVD Kung Fu ................................................................................................................................................................ 3 - DVD Tai Chi ................................................................................................................................................................... 8 - DVD Shaolin Kung Fu ................................................................................................................................................ 11 - DVD Wu Shu ................................................................................................................................................................ 13 - DVD Wing Chun .......................................................................................................................................................... 15 - DVD Wing Tsun ........................................................................................................................................................... 19 - DVD Other Styles China ............................................................................................................................................. 23 - DVD Judo and Ju-Jitsu .............................................................................................................................................. 25 - DVD Iaido..................................................................................................................................................................... 29 - DVD Karate .................................................................................................................................................................. 31 - DVD Aikido .................................................................................................................................................................. 37 - DVD Kobudo ............................................................................................................................................................... 42 - DVD Ninjutsu ............................................................................................................................................................... 45 - DVD Other Styles Japan ............................................................................................................................................ 47 - DVD Kyusho Jitsu ...................................................................................................................................................... 51 - DVD Capoeira.............................................................................................................................................................. 55 - DVD BJJ Brazilian Jiu-Jitsu ....................................................................................................................................... 57 - DVD Staff and Cane .................................................................................................................................................... 61 - DVD Kali Arnis Eskrima ............................................................................................................................................. 63 - DVD Nunchaku ............................................................................................................................................................ 67 - DVD Other Weapons .................................................................................................................................................. 69 - DVD Pro, Military, Police ............................................................................................................................................ 73 - DVD Krav Maga ........................................................................................................................................................... 80 - DVD Systema .............................................................................................................................................................. 85 - DVD Knife Fighting ..................................................................................................................................................... 87 - DVD Women´s Self Defense ...................................................................................................................................... 89 - DVD Other Self Defense Styles ................................................................................................................................. 91 - DVD Jeet Kune Do ...................................................................................................................................................... 96 - DVD Kenpo .................................................................................................................................................................. 99 - DVD Kajukenbo ......................................................................................................................................................... 102 - DVD Martial Arts Vietnam ........................................................................................................................................ 104 - DVD Other Martial Styles ......................................................................................................................................... 106 - DVD Pencak Silat ...................................................................................................................................................... 110 - DVD Tae Kwon Do .................................................................................................................................................... 112 - DVD Hapkido ............................................................................................................................................................. 114 - DVD Other Styles Korea ........................................................................................................................................... 116 - DVD Muay Thai ......................................................................................................................................................... 118 - DVD Kick Boxing ...................................................................................................................................................... 121 - DVD Grappling Wrestling ......................................................................................................................................... 124 - DVD MMA - Vale Tudo .............................................................................................................................................. 126 - DVD Other Contact Sports ....................................................................................................................................... 129 - DVD Health - Wellness ............................................................................................................................................. 132

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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NEW DVDs!

DVD COMBAT FILIPINO Kyusho & FMA Tegumi in WingMARTAL Chun ARTS Ref. DVD/AFLORES1 Siu Nim Tao Price Inc. Tax......20,00 EUR Ref. DVD/KYUSHO28 Price Inc. Tax......22,00 EUR

DVDKeysi COMBAT MAI KREDFighting MUAY THAI DVD Risk Situations BORAN Technique Ref.DVD/KEYSI2 DVD/CESAR13 Ref. Price Inc.Tax......22,00 Tax......20,00EUR EUR Price Inc.

DVD CHURI ROMA. DVD ESGRIMA Tong LongLA Pai. Southern Praying GYPSY Mantis KNIFE & STICK Ref. Ref. DVD/CHURIROMA1 DVD/SAPIR1 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

DVD ESGRIMA CRIOLLA VOL.2. Creole Fencing CREOLE FENCING Ref. DVD/ECRIOLLA1 Ref. PriceDVD/ECRIOLLA2 Inc. Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVDWing CANARIAN ADVANCED DVD Tsun LatSTAFF. Sao Advanced. TECHNIQUES TAOWS Academy Ref.DVD/TAOWS4 DVD/GARRO2 Ref. PriceInc. Inc.Tax......22,00 Tax......20,00EUR EUR Price

DVD GARROTE & TOLETE DVD CANARIAN RMA Systema SV Empty Hands & Ref. KnifeDVD/GARRO3 Price Inc. Tax......20,00 EUR Ref. DVD/SKOGOREV-11

DVD GLADIUS MILITARY COMBAT Paul VunakSIGNUM PFS Asymmetrical Ref. DVD/GLADIUS1 Violence Price Inc. Tax......20,00 EUR Ref. DVD/VUNAK1 Price Inc. Tax......22,00 EUR

DVDKyusho KAJUKENBO GARCIA´S DVD and Boxing Connection METHOD Ref. DVD/KLINE3 Ref. Inc. DVD/KAJ8 Price Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVD DVD KEMPO Kyusho,AIKI-JUTSU First Encounter Ref. Ref. DVD/KAJCG1 DVD/KFRISAN1 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

Tai-Chi and DVD KAPAP GUNQi-Gong FU. THEForms MARTIAL ART OF GUN Ref. DVD/LYN7 Ref. PriceDVD/KAPAP11 Inc. Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVD Long PaiSITUATIONS Kung Fu DVDGham KEYSI RISK VOL.2 KFM Ref. DVD/VDSPEK1 Ref. Inc. DVD/KEYSI3 Price Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVD KEYSI Advanced Aikido, Kisei Dojo DVD KFM. TRAPS & GRABS Ref. Ref. DVD/KEYSI4 DVD/KISEI2 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

Price Inc. Tax......22,00 EUR

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DVD KYUSHO BARAI Kyusho & GEDAN Tegumi in Wing BUNKAI Chun Ref. DVD/KFRISAN4 Siu Nim Tao Price Inc. Tax......20,00 EUR Ref. DVD/KYUSHO28 Price Inc. Tax......22,00 EUR

DVDKeysi KYUSHO JITSU NERVESTIMULADVD Risk Situations Fighting TION AFFECTING VOL.1 Technique Ref.DVD/KEYSI2 DVD/KFRISAN5 Ref. Price Inc.Tax......22,00 Tax......20,00EUR EUR Price Inc.

DVD JITSU NERVE Praying DVD KYUSHO Tong Long Pai. Southern STIMULATION AFFECTING VOL.2 Mantis Ref. Ref. DVD/KFRISAN6 DVD/SAPIR1 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

DVD KYUSHO & TENSHO KATA Creole Fencing CAT. : DVD Kyusho Jitsu Ref. DVD/ECRIOLLA1 Price Inc. Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVDWing LINGTsun GARLat TZAI DO DVD SaoKUNE Advanced. Ref. DVD/LYN8 TAOWS Academy Price Inc. Tax......20,00 EUR Ref. DVD/TAOWS4

DVD MANO SYSTEM DVD KALI RMALARGA Systema SV Empty Hands & Ref. KnifeDVD/MALTE5 Price Inc. Tax......20,00 EUR Ref. DVD/SKOGOREV-11

DVD IONIAN FENCING, SCERMA JONICA Paul Vunak PFS Asymmetrical Ref. DVD/MALTE6 Violence Price Inc. Tax......20,00 EUR Ref. DVD/VUNAK1 Price Inc. Tax......22,00 EUR

DVDKyusho OKICHITAW INDIGENOUS DVD and Boxing Connection COMBAT ART Ref. DVD/KLINE3 OKICHITAWI Price Inc. Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVD DVD OKICHITAW Kyusho, FirstTOMAHAWK Encounter Ref. Ref. DVD/OKICHITAW2 DVD/KFRISAN1 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

Tai-ChiFU andQIQi-Gong DVD KUNG GONG. Forms VOL.1 Ref. DVD/QIGONGPC1 DVD/LYN7 Price Inc. Tax......20,00 Tax......22,00 EUR EUR

DVD Long PaiGONG. Kung Fu DVDGham KUNG FU QI VOL.2 Ref.DVD/VDSPEK1 DVD/QIGONGPC2 Ref. PriceInc. Inc.Tax......22,00 Tax......20,00EUR EUR Price

DVD RUSSIAN Advanced SAMBO Aikido, Kisei Dojo DVD Ref. Ref. DVD/SAMBO2 DVD/KISEI2 Price Inc. Tax......22,00 EUR Price Inc. Tax......20,00 EUR

Price Inc. Tax......22,00 EUR

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DVD JOOK SOUTHERN KyushoLUM & Tegumi in WingMANTIS Chun KUNG Siu NimFU Tao Ref. DVD/SAPIR2 DVD/KYUSHO28 Price Price Inc. Inc. Tax......20,00 Tax......22,00 EUR EUR

DVDKeysi HUNG GAR BAK HOK PAI. DVD Risk Situations Fighting THE CRANE Technique Ref.DVD/KEYSI2 DVD/SEWER6 Ref. Price Inc.Tax......22,00 Tax......20,00EUR EUR Price Inc.

DVD CHUN FUNDAMENTALS. DVD WING Tong Long Pai. Southern Praying TAOWS Mantis Ref. Ref. DVD/TAOWS5 DVD/SAPIR1 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

DVD SYSTEMA SV GUN DEFENSE VOL.1 Creole Fencing Ref. Ref. DVD/SKOGOREV28 DVD/ECRIOLLA1 Price Price Inc. Inc. Tax......20,00 Tax......22,00 EUR EUR

DVDWing SYSTEMA SVSao GUN DEFENSE DVD Tsun Lat Advanced. VOL.2 Academy TAOWS Ref.DVD/TAOWS4 DVD/SKOGOREV29 Ref. PriceInc. Inc.Tax......22,00 Tax......20,00EUR EUR Price

DVD SV SELF DEFENSE DVD SYSTEMA RMA Systema SV Empty Hands & WITH Knife EVERYDAY ITEMS Ref. Ref. DVD/SKOGOREV30 DVD/SKOGOREV-11 Price Price Inc. Inc. Tax......20,00 Tax......22,00EUR EUR

DVD VUNAK ENIGMA II. VOL.2 Paul Vunak PFS Asymmetrical CONTEMPORARY JKD Violence Ref. DVD/VUNAK8 DVD/VUNAK1 Price Price Inc. Inc. Tax......20,00 Tax......22,00 EUR EUR

DVDKyusho GRACIE DVD andJIU-JITSU Boxing Connection INTERMEDIATE Ref. DVD/KLINE3 Ref. Inc. DVD/VACIR7 Price Tax......22,00 EUR Price Inc. Tax......20,00 EUR

DVD VIETNAM. VIETNAMESE DVD VAT Kyusho, First Encounter WRESTLING Ref. DVD/KFRISAN1 Ref. PriceDVD/VIET9 Inc. Tax......22,00 EUR Price Inc. Tax......20,00 EUR

and Qi-Gong Forms DVD ITai-Chi CAVALIERI D´ONORE E UMILTÀ Ref. DVD/VUOVOLO1 DVD/LYN7 Price Inc. Tax......20,00 Tax......22,00 EUR EUR

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

DVD Advanced Aikido, Kisei Dojo Ref. DVD/KISEI2 Price Inc. Tax......22,00 EUR

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DVD Kung Fu

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DVD Kung Fu

DVD Tong Long Pai. Southern Praying Mantis Ref. DVD/SAPIR1 Price Inc. Tax......20,00 EUR

DVD Pachi Tang Lang Chuan Ref. DVD/PACH1 Price Inc. Tax......20,00 EUR

DVD Kung Fu Tang Lang Ref. DVD/TANG1 Price Inc. Tax......20,00 EUR

DVD Sanda Ming Chuan Kung Fu Ref. DVD/SANDA Price Inc. Tax......20,00 EUR

DVD Tao Yin Internal Kung Fu Ref. DVD/YIN Price Inc. Tax......20,00 EUR

DVD Shaolin Hung Gar Yap Moon Kuen Ref. DVD/SEWER1 Price Inc. Tax......20,00 EUR

DVD Tsui Pa Hsien Kung Fu Drunken Style Ref. DVD/BOR Price Inc. Tax......20,00 EUR

DVD Hung Gar Kung Fu Zum Kap Kuen Form Ref. DVD/SEWER2 Price Inc. Tax......20,00 EUR

DVD Hung Gar kung Fu Lau Gar Kuen Form Ref. DVD/SEWER3 Price Inc. Tax......20,00 EUR

DVD Gham Long Pai Kung Fu Ref. DVD/VDSPEK1 Price Inc. Tax......20,00 EUR

DVD Shaolin Hung Gar Gung Gee Fook Fu Doy Dar Ref. DVD/SEWER5 Price Inc. Tax......20,00 EUR

DVD Weng Chun Kung Fu Vol2 Ref. DVD/WENG2 Price Inc. Tax......20,00 EUR

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DVD Kung Fu

DVD Combat Kung Fu Free Style Ref. DVD/CMBT Price Inc. Tax......20,00 EUR

DVD Kung Fu Chin Na Vol 2 Ref. DVD/PC3 Price Inc. Tax......20,00 EUR

DVD Kung Fu Chin Na Vol 1 Ref. DVD/PC2 Price Inc. Tax......20,00 EUR

DVD Kung Fu Masters Historical Series Taiwan 1964 Ref. DVD/BC18 Price Inc. Tax......20,00 EUR

DVD Kung Fu Pa Kua Pa Men Chan Form Vol 1 Ref. DVD/PAMEN1 Price Inc. Tax......20,00 EUR

DVD Kung Fu Pa Kua Pa Men Chan Form Vol 2 Ref. DVD/PAMEN2 Price Inc. Tax......20,00 EUR

DVD Kung Fu Pai Lum Tao Ref. DVD/PAI Price Inc. Tax......20,00 EUR

DVD Kung Fu Toa Forms & applications Vol 2 Ref. DVD/TOA2 Price Inc. Tax......20,00 EUR

DVD Kung Fu Mou Sii Lion's Dance Ref. DVD/MOU Price Inc. Tax......20,00 EUR

DVD Ling Gar Kung Fu Gun Disarming Ref. DVD/LYN6 Price Inc. Tax......20,00 EUR

DVD Ling Gar Kung Fu Dim Mak Ref. DVD/LYN3 Price Inc. Tax......20,00 EUR

DVD Ling Gar Kung Fu Knife Defense Ref. DVD/LYN5 Price Inc. Tax......20,00 EUR

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DVD Kung Fu

DVD Ling Gar Kung Fu Self Defense Ref. DVD/LYN2 Price Inc. Tax......20,00 EUR

DVD Weng Chun Kung Fu Ref. DVD/WENG Price Inc. Tax......20,00 EUR

DVD Hung Gar Gung Gee Fook Fu Kuen Form Ref. DVD/SEWER4 Price Inc. Tax......20,00 EUR

DVD Kung Fu Toa Forms & applications Vol 1 Ref. DVD/TOA Price Inc. Tax......20,00 EUR

DVD Kung Fu Choy Li Fut Forms Ref. DVD/LIFUT1 Price Inc. Tax......20,00 EUR

DVD Weng Chun Kung Fu Fa Kuen Ref. DVD/WENG3 Price Inc. Tax......20,00 EUR

DVD Choy Li Fut Leopard & Tiger Form Ref. DVD/PR4 Price Inc. Tax......20,00 EUR

DVD Hung Gar Kung Fu Gong Gee Fook Fu Kune Form Ref. DVD/HUNG1 Price Inc. Tax......20,00 EUR

DVD Hung Gar Gong Gee Fook Fu Kune Form Vol 2 Ref. DVD/HUNG2 Price Inc. Tax......20,00 EUR

DVD Kung Fu Weapons Ref. DVD/KFW Price Inc. Tax......20,00 EUR

DVD Ling Gar Kung Fu Chin Na Ref. DVD/LYN4 Price Inc. Tax......20,00 EUR

DVD Kung Fu Splashing Hands Ref. DVD/NEIL1 Price Inc. Tax......20,00 EUR

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DVD Kung Fu

DVD Hung Gar Kung Fu Ref. DVD/PA1 Price Inc. Tax......20,00 EUR

DVD Kung Fu Pa Kua Ref. DVD/PC1 Price Inc. Tax......20,00 EUR

DVD Kung Fu Choy Li Fut Tiger & Dragon Forms Ref. DVD/PR2 Price Inc. Tax......20,00 EUR

DVD Shaolin Xiao Hong Quan Form Tao Lu Ref. DVD/MIAOZHI1 Price Inc. Tax......20,00 EUR

DVD The 18 movements of Shaolin Kung Fu Ref. DVD/HONG Price Inc. Tax......20,00 EUR

DVD Shaolin Kung Fu Boxing Ref. DVD/SHAOLIN1 Price Inc. Tax......20,00 EUR

DVD Shaolin Kung Fu Essential Ref. DVD/TOMBOLATO1 Price Inc. Tax......20,00 EUR

DVD Shaolin Luohan Shi Ba Shou Form Taolu Ref. DVD/YANTI1 Price Inc. Tax......20,00 EUR

DVD Shaolin Qin Na Ref. DVD/YANTI2 Price Inc. Tax......20,00 EUR

DVD Shaolin Kung-Fu Shi De Yang Interview Ref. DVD/DEYANG Price Inc. Tax......20,00 EUR

DVD Shaolin Secret Techniques Jin Gang Ba Shi Ref. DVD/TOMBOLATO2 Price Inc. Tax......20,00 EUR

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DVD Tai Chi

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DVD Tai Chi

DVD Tai Chi Yang Style Vol 3 Ref. DVD/FUSE3 Price Inc. Tax......20,00 EUR

DVD Tai Chi Chen Style Tui Shou Ref. DVD/YU3 Price Inc. Tax......20,00 EUR

DVD Tai-Chi and Qi-Gong Forms Ref. DVD/LYN7 Price Inc. Tax......20,00 EUR

DVD Tai Chi Chen Style Pao Chui Er Lu Form Ref. DVD/YU2 Price Inc. Tax......20,00 EUR

DVD Tai Chi Yang Style Vol 2 Ref. DVD/FUSE2 Price Inc. Tax......20,00 EUR

DVD Tai Chi Yang Style Vol 1 Ref. DVD/FUSE Price Inc. Tax......20,00 EUR

DVD Tai Chi Chen Xia Jia Pao Chuie Form Ref. DVD/CHEN1 Price Inc. Tax......20,00 EUR

DVD Tai Chi Chen Style Ref. DVD/YU Price Inc. Tax......20,00 EUR

DVD Tai Chi Chuan for Seniors Ref. DVD/TAI4 Price Inc. Tax......20,00 EUR

DVD Tai Chi Yang Style Kung Chia Form & Applications Ref. DVD/TCC Price Inc. Tax......20,00 EUR

DVD Tai Chi Beijing Jen The Straight Sword Ref. DVD/TCE Price Inc. Tax......20,00 EUR

DVD Ling Gar, Tai Chi & Qi Gong Ref. DVD/LYN Price Inc. Tax......20,00 EUR

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DVD Tai Chi

DVD Mongolian Tai Chi Chi Kung Ref. DVD/MONGO1 Price Inc. Tax......20,00 EUR

DVD Tai Chi Chuan Yang Style Ref. DVD/PR1 Price Inc. Tax......20,00 EUR

DVD Tai Chi Wind Chasing Fan Ref. DVD/PR3 Price Inc. Tax......20,00 EUR

DVD Tai Chi Yang Style & Chi Kung Vol 1 Ref. DVD/TAI1 Price Inc. Tax......20,00 EUR

DVD Tai Chi Yang Style & Chi Kung Vol 2 Ref. DVD/TAI2 Price Inc. Tax......20,00 EUR

DVD Tai Chi Che Sword Ref. DVD/TAI3 Price Inc. Tax......20,00 EUR

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DVD Shaolin Kung Fu

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