Master from whom I learnt a lot (my mastersalways taught me many things did... Thankyou!), used to put into perspective the idea oftechnician as the lowest step of theevolutionary assembly of consciousness. In

his view, the strategist ruled from the highest place,followed by the tactical, and finally, there in thebackground, was the technician. As much as the visionwas somehow pejorative, it is fair to say, of course, thatwithout the figure of the technician, our world wouldn'twork. He is the closest attached link to the immediatereality, the one who works on more tangible things link; hemakes airplanes do not fall and trains run, carries out atransplant or builds a computer... In every classification wealways tend to emphasize what attracts us more, but eachone of us fulfills his role, occupies his space and realizeshimself in his own nature. It seems that this is preciselyone of the hidden keys to happiness: that the functionsone performs correspond to his own nature. Out ofcontext, we are all more or less clumsy and feel lesssatisfied and less valued by others.

Reductionisms are always the result of the personalfondness of everyone. Technique is not everything, far fromit. With no heart, no spirit, technique is an empty shell; amachine, a robot. The value of the great things lies in theintangible. It isn't the same drawing a few passes with thecape than real bullfighting, in which you create the properconditions to make things happen... It isn't the sameaccompany the nature of things, than fight it. The subtlealways rises, the refined over time always wins, becausethe immediate adores the tangible, as much as thepermanent adores the abstract, the idea. Art, mystery andthe soul of things, don't exist by the technique, this israther a consequence of the above. Playing notes is notmaking music, and even if the notes you play remain withinthe parameters of harmony, is the stitching of them,created by the heart and the feeling of the composer, whatprovides them encouragement, coherence and sense.There are no tricks, technique, or artifice to replace thatmystery. Being experienced doesnt mean being creative.

They say music is mathematical, but no mathematicianhas ever got a bestselling by mixing figures, or left in thecollective memory eternal melodies like Yesterday or manyothers. Genius feeds on ends, torment and distress.Ordinary mortals adore and idolize geniality, but the truth isthey can't stand genius. Armed with great virtues, theywalk with their large defects, squandering much good intheir effort to avoid falling, or doing much evil in their effortto prevail. But it's in defects which unexpected virtuesarise: Belmonte created modern bullfighting because hehad no physical ability to run before the horns of a bull. In

his time, bullfighting was dodging bull attacks with asmuch gracefulness as possible, but by remaining still, hehad to trick him with the cape and the muleta, and thusmodern bullfighting was born. Before him it was said,"Either you get out, or the bull gets you out". Hesentenced: " Knowing how to bullfight, neither I'll get out,nor the bull will get me out ". A bullfighter of the time,Rafael Guerra, used to say: "If you want to see Belmonte,you better hurry up, because one of these days a bull'sgoing to kill him".

But it was Joselito, his counterpart, the one who finallygot killed by a bull; Belmonte died at age 70 by shootinghimself, they say, the day he couldn't mount his horse, hisother passion. Well, the most remarkable people areessentially large morons. You can't be good at everything;the bigger the virtues, the greater the defects; it's in thecompensation of these huge gradients, where eventuallyemerges the genius, an effect that seems antithetical to theidea of happiness. Most of these individuals are curiouslyabsent from their own process, determined as they are tobe great at what they are not, and on being right evenwhen they are wrong. They are often obsessive and self-destructive.

Because when the differences of level are very large,balance and serenity become extremely difficult, makingwisdom and temper two highly complex conquests,usually supplanted by circumspection, gravity and evenauthoritarianism. A well-known Japanese Aikido mastercame to tear a tooth in a furious rage ... Picasso was aterrible arrogant tyrant ... Paul Gauguin defined himself inhis "The Writings of a Savage" ... Only time gives the rightperspective to these characters. Those who achieve somepeace usually do it very elderly and alone, after atormented life fighting against themselves. But the result ofthis brutal confrontation can become something specialthat touches many lives. The fate of a genius isn't at alleasy (neither for himself nor for his closest ones).

Fortunately I'm not a genius, I remain a simple "borderline"... mine is closer to the idea of the orchestra-man (I'dsay "renaissance", but nothing sounds more pretentious), Idon't know if it's by nature, by choice or by a mixture ofboth; in regard with the personal character, what you carryinside by nature and what you do, end up tangling up withthe passing of the years. Gato Prez said "if you don'thave happiness in your life, you are not wise or anythinglike that"; if it is just in therapeutic doses and evenstumbling, we all need to have some happiness to get by.Joy and positivism are at times more powerful than worriesand concerns, as the old Spanish saying goes, "You cancatch more flies with honey than with vinegar". But it wasanother teacher the one who confronted me with a bigger

"You bullfight and excite the public in the same way that youlove and fall in love, by virtue of a secret source of spiritual

energy that, in my opinion, has there, in the depths of being,the same source origin. When this hidden wellspring is dry, itis useless to try. Will has no power in this matter. No one falls

in love at will, or bullfights at will."Manuel Chaves Nogales

"There is no great genius without a touch of madness."Sneca

A

intensity to the paradigm of "technique versus art": my Master of painting, ManoloTarazona.

I was the only student he had, probably because I was the only one whocould put up with him. He defined himself as abnormal, because he had beenconceived in a bombing raid. Disney chose him along with ten otherEuropean children that were granted a scholarship in USA, because atthe age of 13 he was earning a living by drawing successfulcomics; but he said he wanted to be a painter in Paris...which he managed to be. He worked at one time for Dalperforming a golden painting technique; once the jobwas finished, which was very well paid, his dealer toldhim that the Master wanted to know him. Manoloimmediately replied: "Well, I don't." Stunned, the manasked him why and Manolo said, "Because he woulddisappoint me." He took his million pesetas of thetime and went under Dal's account to tour theAmericas with his lover (this time an Englishman).He, who was a genius, told me he would teach methe technique, but he would try to explain to mewhat is most important: How to be an artist.

For him, painting was the final process, thetherapy and the outcome of his approach to feellife. That sensitivity was a strange meeting offantasy, feeling, madness, and deception. To findhimself, he had to get lost, and I'll say he did! Butin that madness, in his personal frenzy, he left someimmortal works, and planted a univocal emotion inhis paintings hanging in so many walls of the planet;as he said, a window through which flew the fantasy ofthose watching his works. Being unable to feel like him, tosee like him, he lent them his eyes and imagination to put intheir lives some of what he had more than enough... and hesucceeded... The price was very high, but he lived and died inhis law and today I have only affection and respect for him inmy memories. May his soul find peace and calm now.Technique without the spirit is an artifice; but when it comesfrom the soul, is wisdom, art without artifice and thusacquires all its grandeur.

The hidden truth of bullfighting and art are the phlogistonof wisdom, which, when it makes a real appearance,everything flows without seeming difficulty, but with deeppenetration and truth. Mastering an art or technique doesn'tmake us the owners of them all, not even of ourselves. Weaccompany life and life accompanies us, and in this processwe leave shreds of our being while we go on sculpting ournature. At the end, the elm, cut or not, remains an elm, andan oak remains an oak. Gathering the essence of groveafter such decanting is a higher pass where techniquehas no place, only the spirit is capable of such a feat.Transcending in this way the limits of the individual doesnot require genius, but lucidity, detachment andcompassion.

Alfredo Tucci is General Manager to BUDO INTERNATIONAL PUBLISHING CO.e-mail: budo@budointernational.com

https://www.facebook.com/alfredo.tucci.5

here is a term Zanshin in martial arts rarelyunderstood fully in Japanese Budo

In Japanese karate most philosophical termscame at the end of WW-2 when the JKAintroduced the philosophical terms from Iaido,Kendo, Kyudo, etc into all Japanese arts as the

emphasis changed from being combative in warfare todeveloping the character of participants. No one said itbetter then Gichin Funakoshi when he said the ultimate aimof karate lies not in victory or defeat but in the perfection ofcharacter. One of those responsible for this was HidetakaNishiyama who had studied Kendo extensively before hebegan karate.

General Douglas McArthur outlawed the practice of allmartial arts at the end of WW2 until 1951 when the banwas lifted and this is when the change happened in martialarts although they were there as part of Bushido or theWay of the Samurai for centuries before.

The term Zanshin means perfect finish or sustainedalertness.

At a recent seminar I attended with Dr. Alex Bennett Iwas reminded of the term and its importance.

He explained it this way. In competition there are 4things that can happen at the end of a contest.

1. Quality win2. Non-Quality win3. Quality loss4. Non quality loss. Each one has a separate meaning.Quality win is when the winner scores a perfect point

and then accepts the win humbly bows out of respectto h is opponent s teps out of the r ing and thencelebrates.

Non Quality win is when the winner scores a clean clearpoints and starts to celebrate before he even bows out of

the ring. In traditional Japanese martial arts this personusually is disqualified.

Quality loss is when you lose the competition andaccept the fact with great humility again and simply thankyour opponent who won for pointing out your weakness.

Non quality loss is when you lose and jump up anddown showing a poor attitude and complain like hell. Thisis of course the lowest.

Personally I can only recall one instant that I personallyexperienced Zanshin. I was at a party and young man gotdrunk and took a shot at me. I have no idea what happenednext but it was all natural. I blocked his right hand with myleft hit him in the chin with my left and then buried my righthand in his stomach. This was all it took. Then as he laid onthe floor in front of me I shifted back watching but far enoughaway that he could not attack me if he were able to andstaying engaged mentally with him in case he moved and hewould have then got a right front kick in the head. ThankGod for him and I he did not move. After about 3 or 5seconds I let go of him mentally and got the heck out of therewhile others scooped him up and thru him out the back door.

This is Zanshin and these attitudes in this writers opinionare what needs to come back into competition but it isdifficult when you have other martial arts competing inopen tournaments and they have never been taught whatZanshin actually is.

When I was teaching my daughter the meaning ofZanshin she said it is like being a good sport. This is onlypart of Zanshin.

When you compete in kata the last move is when youmust hold the move for a couple of seconds while you aresti l l mentally into the kata demonstrating theunderstanding of the term Zanshin if the last move isnot held the competitor obviously does notunderstand Zanshin.

T

In 2008, we publicly released the bookon Kyusho in use for Law Enforcement; theprogram is called the Kyusho TacticalControl Program (KTCP) and it is in use inmany countries and agencies around theworld. This was just the first of 4 modulesthat escalated in urgency and stress, yetit proved highly effective and proven.

We have City and State Pol ice,Sheriffs, Federal Agents, SWAT

teams, Narcotics Agents, High SecurityPrison Guards, Body Guards, Doormen,Emergency Personnel from Doctors,Nurses and EMT units and so many moreall successfully employing the simple andeffective control system.

Now Pressure Point systems havebeen trained by field agents for many

years, so what is it about the KTCPthat is above and beyond these

older training programs?

ell there are many answers, but mostlywe do not look at it as pressurepoints, rather we look at the underlyinganatomical structures of the body andthe most simple and effectiveapplication of leverage on them. For

example we do not look at trying to push a pain point forcompliance (yes most do cause pain but not our goal), weinstead focus on compressing a nerve that causesreflexive neurological actions, reactions and weakening ofthe body. This weakening then allows the agent to more

easily apply their jurisdictions approved techniques moreeasily.

In addition to the efficiency, it also allows the agent tofreely move from target to target as presented during asituation with full body control of the perpetrator and allwithout physical damage. This not only controls theindividual but keeps all parties safer from escalatingstrength or aggressive actions.

But instead of talking about the benefits for ourselves (aswe are obviously bias toward it, we will just includecomments from several Law Enforcement agents from

W

around the world, to tell you in theirown words Edited for length theseofficers full endorsement can be readat: http://www.kyusho.com/ktcp/ :

Lieutenant Gary Gione(Ret.)New York, USA

For twenty years and twenty days, Iserved in the largest Police Departmentin the world, the N.Y.P.D. I have effectedand or supervised over 5,000 arrests inmy career. I can remember manytimes when I had to use theapplications of Kyusho onuncooperative perpetrators. This wasdone in order to protect myself andescape without injury. Without thisspecialized knowledge, the outcomes ofthese encounters might not have beenin my favor.. Safety and practicality isvery important to the officers of thiscountry and Kyusho provides the officerwith another level of protection.

I urge all law enforcement, military,corrections, and security personnel topractice and apply these techniques;it may be the difference between lifeand death.

Detective InspectorHenrik EngelkesStockholm Regional CID,Narcotics Division

The first time I used (Kyusho). tocontrol a suspect I was surprised that

it worked so well. Some people hadtold me that the points wont workwhen the suspect is under theinfluence of drugs, so I couldnt besure of the effect. But the pressurepoints have never failed. Somepeople argue that people under theinfluence of drugs doesnt feel pain.And thus should the pressure pointsbe useless. That, in my experience, isnot true. It doesnt really matter ifthey feel the pain. The nervoussystem will still react as predictedmost of the times. It isnt the pain thatis the key; it is the physical reactionto the stimuli The officer doesntneed to learn new techniques; they

just need to understand themechanisms of the body and thetechniques a l i tt le bit more. Thenerves are under the skin, and thereactions when pressure is applied tothem are mostly predictable sincemany of the points activate reflexreactions that can be studied. Thereis nothing strange about pressurepoints; it is plain knowledge of bodyfunctions and especially about thenervous system.

I can recommend the use of(Kyusho) for al l law enforcementpersonnel. I will also recommend thatyou always use a certified instructorwhen implementing the knowledgeinto an official system.

Markus Maislinger -Corrections OfficerSalzburg, Austria

As an officer for Corrections inAustria, I searched long times indifferent martial Arts to find a goodSystem, I can use every day on duty.I trained different styles and tried tocombine them with techniques ilearned in my basic education, everyofficer gets. It took me some time till Ifound a Book of Evan Pantazi on theInternet. Kyusho for LawEnforcement. I read the whole bookin one day and tried to implement thementioned points and techniquesKyusho opens the door for everyofficer to make their techniqes moreefficieant and less dangerous.

I urge all lawenforcement,

military,corrections, and securitypersonnel to

practice and applythese techniques;

it may be thedifference between

life and death.

In my case, there are differentproblems, like very little space, andopponents, that have years ofexperience in hurting people. SoKyusho makes it possible for me tomake my work more safer. One moreeffect is, that inmates respect the wayI use my techniques. They know, that Iuse the force I have to Kyusho is asafer and better way to work andthats, what inmates know andrespect.

Marcello GiannolaPolizia di Stato inPalermo (Italy)

the knowledge and use ofKyusho is very important for thepol ice off icer people, who areworking often in s i tuat ions ofconflict or even dangerous, to meetwith the proport ional i ty offensereceived or probably received ,forcing the operator at frequentlyless use supplied weapon and useof physical coercion without the useof specific weapons including non-firearm. All this, implies by theseoperators, knowledge of a systemthat has as i ts object ives thefollowing points:

1. non-hazardous nature of thesystem or the appropriate responseto danger and situations. In order,when possible, to ensure thecriminal at law order, to serve theirsentence that civil society imposes

on redeem, and a social value notindi fferent that away from thegeneric and personal justice.

2. the opportunity to learn a fewsimple techniques and easily trainingwithout the complicated knowledge ofdeveloped engine schemes unless thebased engines schemes , valid formen and women.

3. A voiding further legalconsequences related to the use ofexcessive force, criminal complaintsfor power abuse of and excessnegligence related to physical injuriesreported perpetrator although notserious but still visible.

In my experience of 13 years ofpolice officer I found, in theKyusho, the right way to handle thepotential ly dangerous people tohimself and others.

Name and Picturewitheld for security reasons.

As a United States Federal AirMarshal, I have been trained in avariety of different self-defense stylesthat have given me the proper toolsto defend myself as well as mycountry. While these self-defensestyles may vary in execution andmethod, they al l share a similartechnique and principal. Kyusho isone of the core foundations that theFederal Air Marshal agency has usedto help better equip their agents to beprepared to defend themselvesagainst any style of attack. Kyushouses simplistic yet highly effectivetechniques to disarm, restrain,prevent or stop an individual fromcompleting any type of physicalassault. With the basicunderstanding and use of Kyusho Iam able to not only apply themethods to potential life-threateningsituations, but also incorporate theunderlying fundamental movementsin any other type of self-defensetechnique I may use.I have had manyqualified and experienced instructorstrain me in an assortment of martial

In my experienceof 13 years of

police officer I found,

in the Kyusho, theright way to

handle thepotentiallydangerous people to

himself andothers.

art and self-defense styles; howevernone have been able tocommunicate, instruct and delivertheir knowledge like Evan Pantazi. Ihave been fortunate enough to workwith Evan Pantazi in a personal andindividual sett ing and hisunderstanding and application ofKyusho is as effective and applicableas any instruction I have received.His ability to tailor Kyushos methodsto suit that of the small and uniqueenvironment of an aircraft is only oneexample of how effective and relativeEvans principals are to my jobdescription. Evan has given me a newand dynamic way to fight and defendmyself in any situation.

Christopher M. Smaby,Training OfficerIowa, USA

As an unarmed tactical lawenforcement instructor for the past 24years, I have found the skills taught byMr. Pantazi and Kyusho Internationalto be the most useful and effective inreal l i fe situations. Mr. Pantazisorganized approach is both practicaland realistic and is far superior thanany other system I have ever trainedin. Kyusho has been a part of mycurriculum for years and will continueto be so.

Joo RamalhoOfficer (special anti-riotunit)Portugal

Despite my own personalexperience in Martial Arts, for manyyears I have researched and searchedfor self-defense systems that could beadapted to my professional situationof being a Law Enforcement Agent.All techniques, theories and strategiesI contacted in the many traditionalmartial arts I experienced during mysearch were simply not compatiblewith the limits of intervention imposed

by the Portuguese laws. In the firmbelief of f inally having found anapproach that could be adapted tothese strict restraints imposed by myactivity, I met Evan Pantazi for the firsttime in Barcelona at a LawEnforcement Seminar. After my yearsof pursuit, I understood then that allthe questions I had and were neveranswered were systematically beingaddressed in an intuitive and simpleway by the program that was beingpresented.

A program that introduced a levelof control that permitted me tomaintain complete restraint with littleeffort, and do so withoutcompromising the physical integrity ofthe offender.

It is my firm belief that the KTCPfrom Kyusho International will be infew years the mandatory tool for lawenforcement agents across the world.

Lt. Wayne Moody -SWAT commanderTexas, USA

I have been using Kyusho on thestreet for over 10 years The Goal ofany officer who finds themselves in aviolent confrontation is to control thesuspect. These techniques give theofficer an edge while attempting toaccomplish this goal. The techniques

Mr. Pantazisorganized

approach is bothpractical and

realistic and is farsuperior than any

other system I have ever trained in.

and tactics that will be covered are simple,sound and street tested. They can be integratedinto your existing tactics and skills I rememberattending a Law Enforcement Class 15 or so yearsago that advertised Pressure Point Control, I had amartial arts background and when I left the class Iwas less than impressed. I had a souredimpression that pressure points were not veryvaluable to L.E., boy was I proven wrong, a fewyears later when I met Expert instructors Pantaziand, Corn, during a Kyusho Seminar. I walked out ofthis class surprised and excited about pressurepoint combat. I was on a mission; I was going towork on and test these tactics on the street. Sohere we are several years later and they have beenput to the test. Like I said earlier I have had goodresultsDo the job, and go home at the end of theday to our loved ones.

Dan King Corrections OfficerTennessee, USA

When police officers arrest someone theytransport them to an intake area of a jail. Theindividuals who are being put in custody of thecorrections officers at that point often becomeviolent because they have been arrested andmay be high on drugs and drunk. Thebooking area is not a happy place forarrestees. They have lost their freedom,the cops are now taking their propertyand clothing, and the reality of thesituation is starting to sink in. This is thepoint when I have had the most fights inmy career as a working correctionsofficer. Over the years I have studied afew martial arts. The sad truth is thatmany modern arts are taught more on theart side than the martial part. PPCT evenhas limits. Kyusho in law enforcementand corrections goes beyond trying toinflict pain on people who cant feel anything.It manipulates the nervous system of youropponent to control the situation (Justbecause they dont feel pain in one spot doesntmean the rest of their nervous system is out oforder) Ive fought crack heads, meth heads, anddrunks using Kyusho to effectively endaltercations. Its easy to learn but mostimportantly IT WORKS PERIOD

Deputy Sheriff Joseph Lamb(Ret.)Massachusetts, USA

When your job consists of arresting people on a dailybasis, you quickly learn that standard control

Kyusho in law enforcement

and corrections goesbeyond trying to inflict

pain on people who cantfeel anything.

It manipulates thenervous system of youropponent to control the

situation

techniques and defensive tactics are justnot adequate. I discovered years ago,that learning Kyusho techniques was theperfect addition to the skills that Ialready had. There is no magic toKyusho, it is just using knowledge ofbasic human physiology and applyingsome fairly simple concepts.

I am by no stretch of theimagination, an advanced Kyushopractit ioner. Ive learned somepressure points and Kyusho conceptsalong the way and I have consistentlyused them in the course of my duties.The beauty of Kyusho is that youdont necessarily have to change whatyou are already doing, but just gainsome knowledge of how to makewhat you already do, work better.

Kyusho has a number of advantagesthat can be capitalized on in manydifferent situations. From highly resistant,combative subjects to passively resistantpeople. Best of all, you are far lesslikely to cause visible injuries, therebyhelping to avoid excessive forcecomplaints. By learning Kyusho, youare educating yourself and becoming abetter, safer, more humane lawenforcement officer, and you just mightavoid a few lawsuits along the way.

Jaap Jan de Lange -Constable First ClassBant, Netherlands

Ive been a police officer for over 11years now. I am working as a police-

detective at the moment but I haveworked as a street cop for over 6years and I was a member of aspecial arrest unit specialized inarresting persons in riot situations anddifficult situations for over a year.

Since I started studying Kyusho Ihave used it in my police work and itreally made a big difference. The greatadvantage of using pressure points isthat you can use them in everythingyou used to do already, but get amuch better response Anothergreat thing is that when youunderstand what a point will do youcan use it to get a result withouthaving to use other violence. Forexample, when a person holds on to afence or their steering wheel in a carits really easy to open the hands byusing a pressure point on the wrist. Ifyou dont know this you will have to

fight to open the hand which will leadto more violence and morecomments/complaints frombystanders

I highly recommend the KTCP notonly to all LEO but also to all peoplewho might have to control aggressivepersons. The points taught have allbeen tested in real l ive againstresisting opponents and maybe justas important the way the programteaches the material will make sureyou will be able to find the point andbe able to use it right after the lesson.

Patrick HummerWels, Austria

Since I use the KTCP in my work, Ifind it to be much easier to controland arrest people.

Im sure KTCP is taken soonstuck in the basic training of policeofficers in Austria.

These are just a few of thehundreds of endorsements we havereceived over the years. But theyall share common traits, thatKyusho is an invaluable tools forLaw Enforcement as well as anyindividual that is faced withcontrolling others that have lostcontrol. Again these comments were

edited for length these officers fullendorsement can be read at:http://www.kyusho.com/ktcp/

Best of all, you are far lesslikely to causevisible injuries,thereby helping

to avoid excessive force

complains.

Ive fought crack heads,meth heads, and drunks using

Kyusho to effectively endaltercations. Its easy to

learn but most importantlyIT WORKS

Dan King Corrections OfficerTennessee, USA

Major Avi Nardia is one of the leading head officialinstructors for the Israelite army and police in anti

terrorism and CQB, he along with BenKrajmalnik have made a new basic

dvd in the field of firearms andsafety, training techniques in

IPSC. Instinctive Shooting inCombat. Combat Instinctive

Point Shooting - IPSC is ashooting method basedon instinctive reactionsand kinematics to shootshort distances fast andin dynamic situations. Aself defense disciplinein order to survive in lifet h r e a t e n i n gsituatuations , where

you need a very fast andaccurate shooting

abilities, when you musttake the gun out as soon as

possible and shoot at a shortdistance without using the sight.

In this first volume you will studyhow to handle the weapon ( revolver

and semi -automatic ) dry firing practice andsecurity, "Point Shooting" or instinctive shooting , at aclose range and a series of movements and exercisesfor weapon retention , low stress and multiple attackers ;exercises on how to recharge with one hand, ... andfinally practice shooting gallery with guns such as AK- 74, M -4 , M -249 machine gun and even M -16grenade launchers .

REF.: KAPAP7REF.: KAPAP7

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Budo international. netORDERS:

WingTsun

Principles, Techniques and Philosophy

In recent years, countless of self-defense systems have emergedwithin the world of Martial Arts that

lay the foundation of their practice inan "alleged efficiency proven in harshenvironments." This impressiveslogan, so fashionable today, isnot, in my opinion, the bestargument that self -defensesystems should use.

For me, Martial Artshave fallen into basic errors

in their communicationtechniques which often have led to

give the NON-PRACTITIONER acompletely distorted image of what we

actually do.Bruce Lee said (with his usual exquisite elegance)

that "effective is not the style, but the person..." There you go!In the vast majority of cases, these systems are the

synthesis of the experiences of the instructors ormasters who have built these fighting systems.Personally I can't see anything wrong with that. I find itcourageous and honest to propose new things to thecommunity martial, especially when the teacher ormaster who tries to convince his students orfollowers of the goodness of his system, is able tosay openly: "This is my vision."

Unfortunately, this is not as common as itshould and this "little detail" is often easilyforgotten.

In my opinion, the point is that it doesn'tmatter how many merits might haveaccumulated either your Martial Arts teacher orany other guru of whatever self-defensesystem. A system based on the personalexperience of a practitioner, will serve himdirectly or persons of the same characteristics:physiognomy, mindset, etc., but there is notmuch chance of success in people who aredifferent.For this reason, I don't pay much attention

to those fight systems that are NOT basedon the very PRINCIPLES thereof, theprinciples of the Art of War!Techniques change, but there are

principles that are inherent to the art ofcombat. Time may change or maketechniques evolve, but principles areeternal. My recent studies support thistheory and especially allow that eachindividual, with proper training and thenecessary time of practice, develops hisown skills, his own style!

In the world of Chinese Martial Arts,particularly in Wing Chun, this is a reallyimportant issue. For various reasonswhich I have already discussed adnauseam in different articles, the worldof Kung Fu / WuShu suffered a seriousdismemberment from the "GreatProletarian Cultural Revolution," whichexplains the huge lacks in a technical

and tactical level, as well as inimportant knowledge, that styles havebeen dragging to our days.The typical sectarianism among

Martial Arts systems of the different"designations of origin" (TraditionalBudo, Arnis / Eskrima / Kali, KoreanMartial Arts, Wushu, etc.) hasincreased these IMPORTANTDEFFICIENCIES. It's funny becausemany see their fears significantlyAMPLIFIED when it is about sub-styles within the same style. It's as ifthe biggest enemy of their own stylewas one of their "brothers". So, it's quite common to follow

discussions among Wing Chunmasters, which besides beingshameful by the essence, it's evenmore shameful by the forms.In my opinion, a Martial Arts teacher

should be deeply respectful.Otherwise, the practice of Martial Artsis meaningless. We can reflect on some of these

disputes and perhaps we might get (ifany of them read this column) thatsomeone can see himself reflected inthese lines and think about changinghis attitude.

There are Masters (or so they callthemselves) who claim to possess theONLY AND AUTHENTIC style, thuseliminating the possibil ity thatANYBODY who is not their pupils ordoesn't belongs to their association or"lineage" may get to know the realtruth of the style. The reader will agreewith me that those who takepossession of the words "authentic"and "unique definitively rule out allother practitioners in the world. Inshort, anyone who is not with himshouldn't use the name of the style...

There are Masters who dare to talk,comment and correct otherpractitioners or even judge the abilityof other teachers, when theythemselves have never left their"kwoon". In short, the Wing Chun is aCombat Art where VERIFYING one'sefficiency is very simple: CROSSINGHANDS in ONE TO ONE ... If you reallyhave a complete and utter security inyour own efficiency and the inability ofothers, is as simple as showing it.Then, many of them resort to use

the slogan of "RESPECT", the samethey seem to forget when they judgehonest persons who are doing theirbest and give everything they have fortheir students and schools. In my opinion, if someone is not

able to do that, the best thing he cando is remain silent, being respectful ofothers and working diligently in orderto exceed himself without comparingwith others.

There are Masters who despite theirmediocrity in all respects, through"strategic alliances" and other variousmarketing tools, have managed toCONVINCE everyone that theirs is theauthentic. I often use the analogy of aFALSE ROLEX. A few months ago Iheard a discussion about it, in whichthe owner of one of the famous Swisswatch was deceived by a skilled conman, who managed to convince himto trade his watch for another of asuperior category, same brand, buttotally false. In the end, those who areskilled in the art of deception arecapable of using the name Yip Man,Authentic Yip Man or any other, usingthe name of the late master, to coverwith an aura of authenticity what innormal conditions no one would takeseriously... After this, some novicepractitioners just "buy", even if theROLEX DOESN'T STRIKE THEHOURS because it stops to firstexchange. While this may seem fictional, I can

assure you it is absolutely real andpresent. These reflections aloud, besides try

to make these people can seethemselves reflected in these cases,

serve us also to introduce the readerto my theory about the meaning of thepractice of an extraordinary MartialArt, which is continuously abused bythose who claim to LOVE it so much.When I do a criticism, I try to be

consistent with what I say and providea solution (always in my humbleopinion) for it can help someone.Long ago I lost hope with some ofthese pseudo Martial Artspractit ioners, but I also meetgenerous people, respectful andeager to do good things for thisstyle people, and for them I try togive a constructive view.My thoughts this month are

focused on trying to generate areflection in practitioners of suchattitudes, that are completelychildish and, taken out of thecontext where they areperformed (the Martial Artsworld), can becomeEMBARRASSING forpeople who do notbelong to thisenvironment. Fortunately, there is a

growing current ofpractitioners with an openmind who prefer respect,sharing views or simply behaveas Martial Artist that respectothers' ideas and options, eventhough sometimes they areopposed. This point serves me to get

into the title of this month'scolumn: Principles, Techniques and

Philosophy.

Using some phrasesattributed to Grandmaster YipMan (the greatest exponent ofthe traditional and authentic inthis moment, but who wascrit icized and attacked bytraditionalists of the time), we'lltake this: "Everything that comes out of my

fists is WingTsun". Although thismovie style quote is quite popular, inreality it doesn't conform to the onethat Grandmaster Yip Man used to

use, it was something more like this:"If it meets the principles... then isWing Chun Kuen". Once again, Grand Master Yip Man

gives us a lesson of naturalness,evolved mind and knowledge ofChinese Martial Arts.

When a practitioner wants to reachthe heart of the matter in this system(and in any other), he is forced to diveinto a hotchpotch formed by unverifiedstories, disorganized opinions, chaotic

prejudices and confused ideas. Butthere are things that, using a point ofhumbleness, common sense and thecapability to listening the views ofpeople from a more realistic view, canclarify many things for us.Observing many schools, we find a

style separated like a dismemberedbody and thrown into the field ... Inother words, there are styles orbranches that keep one part of theknowledge (technical knowledge).Others that maintain perfect ly

preserved the "Kuen Kuit" of the style(knowledge poems). Still others thathave kept in their practice some ofthe keys on the strategy of WingTsun. But none of them, or almostnone, work these three parts of thesystem.Obviously, al l of them strive to

convince the rest about their partbeing the best. But what if it wereimpossible to actually make thesystem effective and complete withoutunifying those three parts?

WingTsun

What's more, I claim it's impossibleto make this style effective andefficient in the fight, if we are not ableto join the THREE pillars and train,study and practice on them.

What differentiates Wing Chun fromthe rest of all those Self Defensesystems emerged in recent years isthat in its THEORY, the Wing TsunKuen practice relies in definitePRINCIPLES. These principlesenumerated endlessly as a "creed"

should be the mainstay of thepractice. It seems logical to assumethat in a few sentences or rulesdescribing the principles, there is amargin and even some small nuancesthat can give us slight differences ofopinion, but that's not what we areobserving now.I find it absolutely ridiculous when I

see practitioners in Northern Europeor United States who are about 6,25 ft.tall and exceed 220 lb., trying toimitate the way of moving of a Chinese

practitioner that scarcely reaches 5,25ft. in height and whose weight is lessthan 110 lb. Techniques are based onPhysics principles (levers, fulcrums,strength vectors, etc.) and they shouldnever be something to be simplycopied. Moreover, without a deepunderstanding of the principles towhich they serve, techniques becomemeaningless. This point is actually very common

among practitioners from differentparts of Europe, so personally I always

try to distance myself right away.Explaining in detail the principles

and the why and wherefore thereof,as well as the advantages of usingsome of them and not others, ismuch more important than thetechnique itself. Needless to saythat the technique is the correctdriver to carry out a winningstrategy ... but principles shouldalways stay above technique.

Another point that I observe inmy work of study and recovery ofthe style is the relevance oftraditional Chinese philosophy inthe practice of Wing Tsun Kuen. For many years, there was a

disturbing tendency to dismissthese issues, because there wasno possibility of "selling" them.Now I say without any doubt thatTHERE'S NO WING TSUNdivorced from Chinese philosophy.Mainly Taoism, but alsoConfucianism and Buddhism,permeate the practice of thissystem and often are the triggerfor a PRINCIPLE or principles. In other words, without

philosophy, this style wouldn'texist or, at least, it wouldn't be likewe know it.

By getting to know and puttinginto practice the style philosophy,its principles and tactics, andadapting the technical baggage tocarry out those strategies whilerefining each technique to fit theindividual, in my opinion, we canget TWO really important things:

1.- Efficiency 2. - A simple Self-Defense

system becomes in practice anEXCITING ART.

You choose. To me is everclearer!

Be thrilled with the practice ofthis ancient art! Discover itsgreatness!

Sifu Salvador Snchez Chief Instructor Academy TAOWS

Few subjects have generatedcontinued controversy andmisunderstandings as what rolethe Martial Arts should play inPolice training. In this issue, Idecided to tackle this topic in myusual blunt style and no-nonsense approach. The reasonwhy this subject is so sensitive formartial arts Instructors is becausethey all believe (mistakenly) that theyare all supremely and completelyqualified to teach defensive tactics tothe pol ice. Anyone who dareschallenge that assumption isinstantly attacked and vilified.On the other hand, manyPolice officers, especially incommand position, consider(mistakenly) most martialarts (which they refer toall as "karate") to be notonly useless in police work,but actually dangerous,exposing the departmentor agency to all kinds ofliabilities and negativepublic opinion. You cansee that discussing thissubject from either ofthose two extremepoints of view is notgoing to provide areasonable solution.The truth is, as it'soften the case,somewhere in themiddle.

Self Defense

So let's first get some basic factson record to provide context to ourthesis. Police & Security Forces, invarious forms, have existed forcenturies in most nations. (In theinterest of brevity, I will use the word"Police" to include all branches oflaw-enforcement: government orprivate, armed or unarmed, inuniform or plainclothes). In civilized,free, democratic societies, ruled bylaws, Police forces were created toprotect the cit izenry and toapprehend criminals. Unfortunatelythere are also countries around theWorld that are ruled by ruthlessdictators, evi l tyrants, rel igiousfanatics and demented lunatics. Inthose horrible places, the Police isnothing more than a collection ofsadistic thugs and cruel goons who

are simply an instrument ofterror used by thegovernment in power tooppress and control thepopulation. Obviously we donot need to include those"police" forces in this article.

The Police that we are familiar with,is honest, dedicated, hard-workingand, often, underpaid. Their duties, bynecessity, place them sometimes indangerous situations and violentphysical confrontations. And it is thatspecific aspect of their work thatintersects with the issue of martial

arts training. Is martial artstraining relevant to

Police work? Is ituseful to theindividual officer?And, ultimately, isit beneficial tosociety at large forofficers to betrained? Beforewe can reasonablyanswer those andother questions,

Police & Self Defense

The Police thatwe are familiarwith, is honest,dedicated, hard-working and,

often, underpaid.

we must honestly examine severalimportant points.

First let's look at the most commonobjections raised by Police officialsagainst the need for "martial arts"training:

1. Martial arts training is notrealistic. It does not reflect real lifeviolence in the "street" or anywhereelse. The martial arts do not meetthe needs of the officers.2. If they learn it, they will use it.

They will injure people and it willresult in many charges of excessiveuse of force and police brutality.3. Training is expensive. The

Department does not have themoney in the budget to pay for it.Also it requires time and we cannotafford to pay officers to train or givethem time off.4. We already have our own "in-

house" training program. It is morethan adequate and it covers all theyneed without all the complicated,outdated and dangerous martialarts techniques.5. We carry a variety of weapons

(lethal & non-lethal), so we don'tneed to waste time learning uselessempty-hands martial artstechniques.6. Only a police officer can teach

other police officers. Civilians donot understand our duties & thesituations we encounter.

During my decades long LawEnforcement and martial arts career, Ihave heard all of those arguments

(and variations of them) repeatednumerous times. Each one contains a"grain" of truth, but al l can beintelligently and convincingly refuted.However, before we do that, let's lookat the arguments put forward bymartial arts Instructors in favor ofmartial arts training for Police officers:

1. The martial arts were created forphysical combat: on the battlefield,in your house, in the street, on amountain or on the beachwhatdifference does it make? 2. I am an expert black belt and a

certified Instructor. I am perfectlyqualified to teach police officer howto defend themselves and takedown the bad guys.3. I am (or was) a champion who

has won many fights and I cancertainly teach officers how to winin the street.

4. Martial arts training producesdiscipline, self-confidence, physicalfitness, self-control and other veryimportant benefits that are relevantand desirable in police work.5. Lack of proper training and

lack of defensive tactics skills willresult in more injuries to theofficers and the individuals theydeal with. That will result inincreased medical costs andexpensive legal litigations.6. The officer's lack of skills in

empty-hands defensive tactics willinevitably lead to more unnecessaryand unjustified use of firearms andother weapons.

Again, over the years I have heard(and used myself) most of thosearguments. (But not no.3, since I wasnever a champion). They are all mostlytrue but they also contain certaininaccuracies and grossgeneralizations that many Instructorsconveniently ignore. I believe that theevidence is overwhelmingly in favor oftraining police officers but notnecessari ly in what we consider"traditional" Martial Arts. And I believethat we must listen to the concernsand objections of the opposing viewwith an open mind, without investingour ego in the debate, and with thegoal of finding a positive solution. Therefore our task wil l be to

critically examine each of the pointsmade by both sides, so that we cantruly address this issue and, in theprocess, hopefully, educate and bringtogether Martial arts Instructors andmembers of the Police forces.

Police & Self Defense

I believe that theevidence is

overwhelmingly infavor of trainingpolice officers butnot necessarily inwhat we consider

"traditional"Martial Arts

Police & Self Defense

In our never ending quest for thetruth, we will now review both sides ofthe argument concerning the pros andcons of police officers training inmartial arts. We will do so in the mostobjective and honest manner aspossible, keeping in mind that, beinghuman, a certain amount of personalbias is inevitably going to slightlycolor our presentation. Also beprepared: by being brutally honest, Iwill most certainly offend or angersome readers. So here we go.First let's look at the objections

raised by police officials (and someofficers too) against martial artstraining:

1."Martial Arts training is notrealistic. It does not reflect real lifeviolence in the "street" or anywhereelse. The martial arts do not meetthe needs of the officers."

MY RESPONSE: Unfortunately,most of that is TRUE. Many martialarts, with their emphasis on Katas,controlled sparring, ancient weapons,traditional dress and formal rituals, arenot useful nor relevant to modernpolice work. They were not designedto be! Traditional martial arts conveygreat physical, mental and spiritualbenefit to the students (includingpolice officers), but most of thetechniques are not suitable or valid forpolice work. Other arts are primarilyfocused on "sport" and not on realself-defense. While we may admireMMA fighters, their techniques are notappropriate for police officers. Thesame applies to "grappling" arts thatfocus almost exclusively on theground; while effective, they are notrelevant to police work.

2. "If they learn it, they will use it.They will injure people and it willresult in many charges of excessiveuse of force and police brutality."

MY RESPONSE: True AND false! Asnoted above, if the officer learns the"wrong" art and then uses it (becauseit is all he knows), he will probablyinjure people unnecessarily and createliabil ity for his Agency. However,learning the "right" Defensive TacticsSystem will actually substantiallylower the incidents of injuries to theofficers and the citizens they dealwith. The use of the proper amount offorce in an accurate manner, willdrastically reduce the number of legalactions brought against the Agency.

3. "Training is expensive. TheDepartment does not have themoney in the budget to pay for it.Also, it requires time and we cannotafford to pay officers to trainer givethem time off."

MY RESPONSE: Nonsense! It iseither pay now for training or pay laterfor medical expenses, lost time forinjured officers, increased insurancecosts, legal costs to defend againstlawsuits and financial awards toinjured citizens. A responsible Agencywill always have money for training ordivert it from other areas of thebudget. I would not want to work for aDepartment who refuses to invest inthe safety of the officers and thepeople of the community.

4. "We already have our own "in-house" training program. It is morethan adequate and it covers all theyneed without all the complicated,

outdated and dangerous martialarts techniques."

MY RESPONSE: Maybe. Many large,professional, well-funded (primarilymetropolitan) agencies / departmentsdo have ongoing Defensive Tacticstraining programs with competent, full-time instructors. But in many casesthe training is not conducted oftenenough and not for as many hours asneeded. Also, talking with hundreds ofofficers over the years, I have learnedthat, in many cases, the instructor wasappointed to that very desirableposition not for his knowledge andexpertise, but other reasons each asseniority, who he knew in uppermanagement, as a special favor and,incredibly, even for incompetence inother areas of police work. Ironically, Ihave also found out that, in manycases, the only qualification theinstructor had for the position was aBlack Belt in a traditional or sportmartial art obtained many years before.Now, the newly appointed "expert", willspend the rest of his career protectinghis "turf", doing his best to preventexposing the officers to any otherknowledge and, yes, even occasionallydisparaging martial arts training.

5. "We carry a variety of weapons(lethal & non-lethal), so we don'tneed to waste time learning uselessempty-hands martial artstechniques."

MY RESPONSE: Of all the stupidreasons to not train officers in empty-hands Defensive Tactics, this is themost idiotic. And dangerous!Research has shown that, statistically,over 95% of confrontations faced by

police officers are non-lethal, most of them notrequiring the use of weapons. Agencies worryingabout liabilities, expensive settlements and publicrelations disasters, should seriously consider theconsequences of that dangerous mindset. It hasno place in a modern, civilized society and willinevitably result in unnecessary tragedies.Officers who are well trained and confident intheir empty-hands skills, are much less likely toresort to the unwarranted use of a weapon.

6. "Only a police officer can teach other policeofficers. Civilians do not understand our dutiesand the situations we encounter."

MY RESPONSE: Although the two statementsseem to reinforce each other, the first one is false butthe second one is correct. Let's dispose of the firstone. Being a policeman does not automatically qualifyone to be a professional instructor, competent teacherand Defensive Tactics expert. Actually the majority offamous, World recognized authorities in that subject,

are martial arts instructors who have also been in law-enforcement or have done in-depth study & research of thetype of physical confrontations faced by police officers.Those rare but true experts, having transitioned from puremartial arts knowledge to the specific andlimited area of Defensive Tactics, havebecome "specialists" in that field and areeminently qualified to teach police officersanywhere. Those exceptions, however, donot change the fact that most civilianmartial arts instructors have noexperience in police work, arenot famil iar with the

legalities involved and have never faced the real "street"situations confronting officers on a daily basis. We have now reviewed the most common objections

raised by police agencies (usually by management) inopposition to martial arts instructors teaching empty-hands techniques to their officers. I believe that we havedone so fairly and respectfully, using logic and factsinstead of emotions and opinions. I hope you will join usagain in the next issue for part 3, the final on this topic,where we examine the martial arts side of the debateand where I will offer my conclusion and some possiblesolutions.

Police & Self Defense

Every system has its limits and when you need to move from one system to another, you must learn anotherart and this is what the Kapap tries to avoid. This is Kapap, face to face combat, a bridge among systems. Itsfounder coined a phrase whose concept is widely used by other traditional martial arts styles: "Don't carry aweapon, be yourself the weapon." If your mind, your spirit and your body are the weapon, then you will be aweapon that will be equally effective when you carry a weapon. This "Avi Nardia Academy" DVD discusses theconnection between the "old school" martial arts and the modern CQB (Close Quarters Battle).His experience as a commander in the IDF (Israel Defense Forces) and official coach of the main Israeli anti-terrorist unit, taught Nardia that cultivating the warrior's mind and spirit must be considered a priority over thesimple body workout. Among other things, we will study gun safety as well as the convincing parallelism between Iaido and theproper firearm handling. Firearms are the ultimate in single weaponry, but do not escape the eternal wisdomand logic of the old school. Exercises adapted from the BJJ, disarming methods and intelligent body trainingusing special exercises, with explanations of its benefits and precautions. An educational, inspiring, andrevealing DVD, recommended to practitioners of all styles, both ancient and modern.davidgramage@gmail.com

REF.: KAPAP8REF.: KAPAP8

Wood:

The broad double strikes of the element woodstimulates liver and gallbladder.

For the enthusiastic student, there are several moti-ves for sure, how you can imagine the element wood.No wonder, then wood is one of the elements weexperience quite early. But are concrete principles ortechniques in the context of Kung Fu questioned,even longtime Hung Gar practitioners edge theirlimits. The internet, as a source, is full of clues ordescriptions couched in woolly terms about the dif-ferent elements and cycles. In these terms forexample, the spring season is associated withwood. Or in the context of combat we often read

descriptions like Wood is cracked by an axe(link to the element metal = axe) or Woodpenetrates earth. As well, the TraditionalChinese Medicine knows the five elements andspeaks of wood as follows: The associatedsense organs are the eyes. Wood manifestsexternally in the finger nails. The internalorgans are liver and gallbladder, in whichthe liver functions as the Yin and the gall-bladder as the Yang organ. The attributi-ve taste is sour and the correspondingemotion is rage.As beautiful thosemystic circumscriptions sound andeven tough in certain area of experti-se they are fundamentally used, thebusy student knows by now, thatreal Hung Gar masters in earlierdays had other goals than poetry.We remember: In those times itwas not only useful but indis-pensable to know efficient fighttechniques to live a good andsafe life. The primary goal hasalways been to handle realthreats to life and physicalcondition. As we knowfrom earlier articles aboutthe five elements of HungGar Kung Fu, it isnt easyto explain the concrete

techniques or principles of wood and how itenhances the core principles of Hung Gar.Most people simply dont know, becausethey havent reached the necessary levelunder their sifu (master) yet. Naturally, I trymy best with my description here to moti-vate one or another Hung Gar student tofollow the Hung path till the appropriatelevel or beyond: As usual, wood doesnt

simply mean movement XY executed byhand or feet. Much more it describes a cer-

tain way of force or power and how the bodyis used to generate it. The favored animal

style to combine the force of wood is crane.This combination of wood and crane (or other tech-

niques) unleash devastating, relaxed and from the tendonscoming yet exploding fight techniques, striking lightningfast and costing the executor almost no effort. Youd thinkalmost of a perfect mini-system within Hung Gar Kung Fu,maximal destruction on the opponent with minimal effort.But for sure there is no such thing as the invincible techni-que. Otherwise the efficient martial artist would only learnand practice this technique. Whether we talk about fight,philosophy or health, the element wood its principles, thecorresponding techniques and together with the otherfour elements are parts of an almost perfect system. Butbefore we exceed the limit of this article I want to con-tinue seamlessly with the last of the five elements,water.

Water ():The up and down swinging of the extended arms represent the

crashing of ocean waves. In relation to our body the ele-ment water is connected with the kidneys and the blad-der.

Water is the most importantelement in our life. Not only isour planet covered with two-thirds of water, without itin drinking quality,

we survive only for a few days.We can remember many differentmanifestations of the elementwater, be it thunderous waves,a babbling stream or a singledrop. This analogy showsthe facts I mentioned inprevious articles about thetheory and principles ofthe five elements, forwater as well: Aside thekind of force and the-reby the combinationwith techniques thequestion arises aboutthe common tactic ornecessary dosage todefeat the opponentsattacks. Is my oppo-nent in relation tomyself soft andrelax, I can win withbrute force. Oncontrary is hetough and hismuscles aretense duringa fight, I winby using soft-ness and rela-xation. Asm e n t i o n e dthis applies

for all of the five elements. But explai-ned with water, the tossing sea

compared to a single drop, it iscertainly the most obvious illus-

tration. Still its the same element. Beforewe continue with the different kind of forces,Id like to show you the common and medical

aspects of the element water: The connectedsense organs of water are the ears and its exter-nal manifestation is the head hair. The corres-ponding body fluid is the spit and the associated

taste is salty. Linked colors are black or blue and theemotion of the element water is fear. Talking about theorgans the kidneys (Yin) and the bladder (Yang) are rela-ted with water. Especially the kidneys play again andagain an important role in medicine. Among other rea-sons they are the reservoirs of life essence. But letsmove forward to the actual background in the HungGar Kung Fu. As we already know the fight for life ordeath is the heart of the matter. The force of the ele-ment water goes, again, a certain, abstract bodymovement ahead. Among others snake techniqueswith their typical hand position, symbolizing the sna-kes head, are preferably combined with the force of

water. As for all elements those affiliations arentto be understood as fix. They are some of manypossibilities developed through experience overthe past centuries. But the mentioned connec-

tions between the elements and the animalstyles have been approved by the true schoolof fighting for survival. May be you canunderstand by now why those proven tech-niques and this art hundreds of years oldcant be completely learned and unders-tood today in a couple of months. HungGar is optimized to give the ambitionedstudent better health, a deeper philo-sophical understanding and quicklythe abilities for self-defense. And thisidea works perfectly! But there ismuch, much more. This ancient artoffers the willing student to learnand understand more for his entirelife. A really profound knowledgewaits to be unveiled. Or as a well-known proverb beautifully says:The journey is the reward.

YAMAZAKI, SOUL OF THE RYOBU KAI

BALANCING BUDO AND SPORT

By Salvador Herriz, 7th Dan Karate Anaheim, California (USA)

It's Saturday, a hot day in which I've gotten up early inorder to go to Yorba Linda, north of Anaheim where I havesome matters to look after. Later, I have an appointment

15 years ago, in 1999, our regularcontributor Salvador Herriz broughtfrom California to our pages MasterKiyoshi Yamazaki, international leader ofthe Ryobu Kai (Jinen Shindo Ryu), sothat Budo International readers couldknow about this prestigious master wholives in the United States and who wasvery active at that time in the Americanfederative movement. Now, in 2014, Master Herriz, after

another of his trips across the ocean,brings us again near to MasterYamazaki, 9th Dan, who this time isaccompanied by his daughter Mina, 5thDan, since many things have changed inhis Karate life and it is interesting toknow about that evolution.

The master Yamazaki with Salvador Herraiz in 2014,returning again to Ryobukan dojo in California, yearslater their first visit.

In Japan, Kata technique is

not everquestioned,

you learn and youpractice.

Nothing more.Westerners,

however, want todo it their way.

with Kiyoshi Yamazaki in his dojo. I haven't seen him for almost6 years. It was in Tokyo. The first time I had the chance tospeak with him at some length was also here in California, inhis Japanese Center 15 years ago, in 1999, though I had methim during the two editions of the World Cup that were held inSpain (Madrid 1980 and Granada 1992), to both of whichMaster Yamazaki attended as an umpire.

Euclid Street, where he's got his dojo, is a long artery thatcrosses from north to south not only Anaheim but also theneighboring counties. The tatami dojo looks the same as onprevious visits, although the reception area has been slightlychanged.

Besides, this time Yamazaki sensei is accompanied by hisdaughter Mina, 5th Dan and a great American tournamentchampion who, according to what his father related me, 15years ago had started to figure prominently among the elite andnow she's become a reality.

Kiyoshi Yamazaki was born on August 16, 1940 and as achild he excelled in physical activity. In Athletics he was a greatrunner. He learnt his first martial arts techniques from his ownfather, a Kendo instructor who was very strict with him and hisbrother, as Yamazaki sensei recalls:"We practiced before going to school, and also at noon,

during lunch break, as well as in the evening. In that time,errors in practice brought receiving shinai blows from theinstructors. My Iai Do styles havebeen Omori Ryu and Kashima ShintoRyu ".

It was in 1956 when young Kiyoshistarted in Karate under the guide ofYasuhiro Konishi (1893-1983), one ofthe masters that most influenced thedevelopment of Karate and who fromhis high position because of his highrank in disciplines like Ju-Jitsu andKendo, could help the fledgling art thathad come from Okinawa to break intoJapan's main island. Yamazaki senseirecognizes the importance of hismaster in the development of Karate."Yasuhiro Konishi laid the

foundation for an educationalprogram in Karate in Japan. Konishiwas a great of Karate andswordsmanship practitioner. InOkinawa, Karate was not a sport; itwas a Martial Art for self-defense. Onthe main island of Japan, Karatebegan to be established andstructured. Okinawan masters metwith Konishi Sensei to discuss aboutits development in Japan, sincealthough they were not against theidea, there was in fact some concern by the twosomewhat distinct ways that Karate was going tohave."

In 1924, in fact, Konishi not only opened the doorsof his dojo, but those of Keio University in Tokyo, toGichin Funakoshi, who along with Hironori Ohtsukavisited him for support. Keio, as we have explainedbefore in "Budo International", became the firstuniversity Karate club, where even today keeppracticing some veteran karatekas that back in the50s were direct disciples of Gichin. Yasuhiro Konishi,who since childhood had practiced Muso Ryu JuJitsu, Kendo, Takeuchi Ryu (an art similar to Karate)and Aikido, had created the year before his Ryobu Kaischool, for the Excellence in the Martial Arts,developing his style, called Shindo Jinen Ryu("technique of the empty hand in a natural andmerciful way") at the suggestion of another of hisillustrious friends, Morihei Ueshiba.

It's curious toknow that akarateka l ikeKiyoshi Yamazakifai led on threeoccasions the 1stDan test. It wasas follows:"Were the

years in whichnothing wasquestioned orthe instructorwas asked for

the reasons of anything. What hesaid was abided and that was it! Ispent many years not knowing thereason of my failures, until 30 yearslater I learned that I had beenoverconfident."

Very interesting indeed, consideringthat, for example, Master HironoriOhtsuka has always spoken ofoverconfidence as one of the evils ofBudo, along with scorn, contempt,anger, fear, etc. Yamazaki recognizes inthe ancient form of examination abigger realism:"At that time you couldn't prepare

for exams during the previousmonths since the date was knownonly a few days before. That forcedyou to always be prepared, which ismore real."

I agree. In 1962, Kiyoshi Yamazaki obtained

his teaching license and traveled toOkinawa in order to perfect hisKobudo techniques, advised by hismaster. The great friendship of his

Kobudo instructor with MasterNakazato Shuguro made that his maingoal in the small island:"It was very interesting to me.

Then I was young and strong. I wasable to meet with masters likeShuguro Nakazato, with whom I hadthe opportunity of practicing withweapons such as Sai, Bo, Tonfa,Nunchaku and others. Also, I met hispupil Tadashi Yamashita, whom Inever saw again in many years, untilone day, already in California, weboth coincided in an event."

Indeed, Tadashi Yamashita alsoestablished himself in the land ofopportunity, where additionally hewould participate in films of somesuccess, as his good role incarnatingthe dangerous ninja Black Star in themovie "American Ninja" starringMichael Dudikoff, or even coincidingwith other major Karate masters likeFumio Demura and Tak Kubota, in thefilm Rising Sun, starring Sean Conneryand Wesley Snipes."When we met, Yamashita

practiced Nakazato's style, then hechanged to a freer, more eclecticway of doing things. There are many dojos in Naha;

during my trip I also met ShoshinNagamine, Kenei Uechi... The latterpracticed a very strong form ofKumite at a short distance. I oftenremember the high humidity degreeon the island... so much so that weused to train shirtless!"His stay in Okinawa gave

Yamazaki the opportunity ofknowing also more hidden aspectsof Karate."We also practice at nighttime,

with scarce light, and that helpedme understand about night fightingthat some parts of kata include, andalso about practice in different sitesand land. Very interesting."

On this respect, I recommendrereading the article written years agoabout the Karate at Shuri Castle,

where I talked about this type of nightfighting techniques that the kata formsinclude, as well as the influence oftypes of space and even ground insome techniques. Karate is notintended to be practiced only on a flat,clean surface, but on dirt f loors,obstacles, etc., what is also reflectedin some traditional techniques.

It is something that is rarelydiscussed, so I'm glad that Yamazakisensei mentions it now.

With the beginning of his studies inEconomics at Senshu University,Yamazaki had to practice Karate withthe SHOTOKAI group, led by MasterShigeru Egami. Yamazaki got underthe baton of Motonobu Hironishi andtrained with the great leader Taiji Kase.It would also be a big change for himin the practice of Karate, consideringthe large differences betweenSHOTOKAI and the type of Karate thatYamazaki was accustomed to do, ofwhich he had become one of the bestTokyo champions."The SHOTOKAI had big

differences with the other Shotokanstyle. There was no competition, noteven free sparring. The closest thingwas, at high levels, the practicing ofIppon kumite (defense against anattack)."

In 1964, after college graduation,Yamazaki returned to the fold of histrue master, Yasuhiro Konishi. Wecould summarize the technical form ofKonishi and his Ryobu Kai l ike acompendium of teachings of GichinFunakoshi, Mabuni and Choki Motobu.

In 1968, at the invitation of Dan Ivan,Yamazaki traveled to the United Statesto teach Karate, settling in California,where he began teaching at CitrusCollege."It was a great time! It suggested

me by being sent to America. Mycompanions behaved very amicably.Inside the dojo, the attitude shouldbe that of Sensei, but outside it canbe that of a friend."

Yamazaki felt those moments weresomething good and in his newcountry started to teach Karate at theUniversity of California Irving, in theSheriff's Department ... and, ofcourse, in the dojo that he soonopened in Anaheim. "In those years, people thought of

Karate as something meant tobreak boards and bricks. When Icame to America I had to do thattoo. It was the way to get attentionand attract people interested inpracticing and then teach themKarate such as it is. Wooden boardsand bricks don't attack people..."

In 1970, on the occasion of the firstWorld Karate Championships to beheld in Tokyo, Yamazaki sensei wasappointed a member of theCommittee to select the American

Top left: Kiyoshi Yamazaki in hiswork as a film consultant.

Top right: Yamazaki sensei, as astudent of Yasuhiro Konishi.

Below: Yasuhiro Konishi with ChokiMotobu (left photo) and Mabuni(pictured right).

Yasuhiro Konishi y Kiyoshi Yamazakien los aos 60.

representative competitors for thetournament. Yamazaki has alwayssought the difficult balance betweentraditional and sport Karate. "I agree with sports Karate as long

as the true spirit of Martial Art ispreserved."

O.K., even though I personallyconsider it's something rather hard toget. To me it's almost like saying thatthere's no problem in jumping from the5th floor, as long as you control yourfalling at the moment you reach theground!!! Nevertheless, I really respectthe work of Yamazaki, who's beenstriving for so many years in order toreach this objective, undoubtedly a

goal that a Japanese is closer toachieve."The Japanese way of being is

different ..." - Yamazaki has longrecognized - "In Japan, Katatechnique is not ever questioned,you learn and you practice. Nothingmore. Westerners, however, want todo it their way. Iai Do, for example,must be understood as a meditationin motion. It's not about swordfighting. Westerners need to knowthe meaning of the movements, soapplication techniques had to bedeveloped."

Indeed, in Kyudo, for example,great masters have always maintained

that the less important thing washitting the target, as it was not aboutthat, but the process, gesture,breathing, concentration ... and theeffects that it produces in he whothrows the arrow, without worryingabout where or who receives i t .Moreover, we've all heard about thefamous phrase of Mabuni:"Karatedo is Zen in motion."

Another thing is that, perhaps formost, it's just a phrase, far from areal intent ion of taking thepractice of Karate as such. Onceagain, we come to knowing manyphrases that we love but we forgetwhen it comes to act accordingly.

But ... let's continue with our protagonist, KiyoshiYamazaki. 11 years ago, in 2011, accompanied by with some

friends, I drove through the Death Valley, betweenCalifornia and Nevada. Mentioning the fact, I remembernow that Kiyoshi Yamazaki, with my admired friendMaster Fumio Demura, had crossed ON FOOT that samevalley forty years before. I always found their featcurious, so I ask Yamazaki sensei to tell me about it:"As you know, Fumio Demura and I were both

sponsored by Dan Ivan. We carried out joint activitiesand participated in events organized by Ivan. It wasgreat fun. We walked about the Death Valley for twodays. Hiraoka, a Judo master, also came with us. Iremember that at one point we just hopped in thesupport van that picked us up; we were completely castdown, finished...! Demura sensei had gone to the

bathroom. We all got in the car and Demura came out ofthe restroom rushing out after us, because we wereleaving without him. We all laughed with that. But it washard. Sometimes we were about to faint."

In those years, Yamazaki and Demura had a greatrelationship, acting together even in the well-knowndemonstrations at the Japanese Village and Deer Park, aJapanese cultural center in Orange County, California. Thevery next day after this talk with Yamazaki Sensei, I wouldvisit Demura sensei in his dojo near here, in Santa Ana, towhom I reminded their crossing of the Death Valley, withYamazaki.

The 80s brought Kiyoshi Yamazaki delicate moments thatrecognized as the worst of his life:"There have been three crucial moments that I

consider the worst of my life. In the early 80's, in Seattle(Washington) I was a victim of a very serious accident

that made me spent two months in hospital. I wason the verge of becoming paralyzed and I had tolearn to walk again. I even lost my memory forweeks. It was terrible. A very bad time in my life.Also, another time in England, during a hardworkout with people from various countries, Isuffered an asthma attack that really gave me ahard time. A third dreadful moment was when Isuffered a meningitis in Palm Spring and my braingot damaged. These have been no doubt the threeworst moments of my life."

But the 80's also brought Yamazaki sensei greatopportunities; very well known in America for his workon behalf of Karate, he was immersed in the world ofcinema, as his friend Demura, established in nearbySanta Ana, also in California. It was the time whenYamazaki taught and trained in hand to hand combatand sword fighting none other than ArnoldSchwarzenegger, who in 1982 rolled in the USA,Mexico and Spain the film "Conan the Barbarian", inwhich the master appears.

The Karate master would also appear in followingyears in other films made ??in Hollywood, as the sequelto "Conan the Destroyer", with Arnold himself leadingthe cast, and Red Sonja, Dune, The Fall Guy,Beast Master, or years later, in 1996, the famousDragon Heart (starring Dennis Quaid).

Yamazaki also worked in the television sequel, onseries like Conan: "The adventurer" starring RalfMoller (co-star with Dolph Lundgren and Jean ClaudeVan Damme in "Universal Soldier"), which again gavehim the opportunity to work together with another ofthe fi lm advisers, the original Conan, ArnoldSchwarzenegger.

His foray into the world of cinema gave Yamazaki theopportunity to teach Karate to renowned characterssuch as Witt Chamberlain, Brad Dourif, SandalBergman, Richard Hatch, Sean Connery, the explosiveblonde Brigitte Nielsen, the disturbing brunette GraceJones and even Sting himself. Yamazaki confesses... "Today I have already left behind the subject of

cinema. I no longer participate in films. I'm focusedon the development of Karate, of a personal Karate,for myself. I also teach Iai Do, an art in which I havemany followers."

Indeed, Yamazaki sensei even went on to create anorganization on the system, the Iai Do Tate DoFederation.

Yamazaki is now 74 years old... in a pretty goodshape. Yamazaki Sensei is, he's always been, a kindand smart person in the deal, in the way he talks andacts and even dresses, youthful and modern.

Just over 30 years ago, in 1983, after the death ofYasuhiro Konishi, his son Takehiro, born in 1931, hadinitiated the second generation of Ryobu Kai, in which

Yasuhiro Konishi II (Takehiro) and Salvador Herraiz, Ryobu Kai in Tokyo in 2008.

Yamazaki exerts a great influence, asthe main leader abroad and also inJapan itself. For him ... "the firstgeneration practiced more Karatewhile in the second generation itwas added a bigger part of Kobudo(Bo, Kama, Tonfa...)."

To learn more about Takehiro Konishi(aka Yasuhiro II), about Ryobu Kai ingeneral and about its founder, I'dsuggest readers a reviewing to BudoInternational magazine, where in 2010,I deal in depth with the subject aftermy visits to his dojo in Tokyo.

Kiyoshi Yamazaki has been formany years Technical Director of theUSA Nat ional Federat ion andCommittee Member of the WorldKarate Federation (WKF). Last time Isaw him in office was at the World

Championships in Tokyo in 2008,where we both chatted animatedlyabout Ryobukai after my visit a fewdays before to Master TakehiroKonishi in his dojo in the Japanesecapital, a visit of which Yamazakihimself was already aware. Sincethen Yamazaki sensei 's l i fe haschanged.

How is l i fe outside the WKFTechnical Committee?"I had grown tired of politics in the

WKF and I just wanted to take careof the future of Karate. No morepolitics, I just want to teach. There istoo much politics; politics iseverywhere, in each country, so alsoin the WKF ... I don't need politics. Iteach Karate in its various forms, asan educational path with a

philosophy, a history... I care abouttechnique, not politics."

Yamazaki, as with sports Karate ingeneral, has always agreed with anOlympic Karate, as long as theimportant traditional values ??arerespected. Yamazaki has alwaysmaintained that..."If it's properly taught, the

possibility of the Olympics is goodand it would surely bring a biggerfinancing from each country, butcare has to be taken to avoid thatgetting a medal becomes the onlygoal of the competitors, loosing sothe right spirit ."

Today, Yamazaki sensei keeps thatthought, although he feels that karateis not receiving sufficient support fromthe respective countries. On the other

hand, he is less involved, as he told usbefore, in the Karate politics and helimits himself to maintaining a balancebetween that aspect of Karate andtraditional Martial Art, with all itsfeatures. Undoubtedly, his daughter'ssituation also influences him.

Indeed, 15 years ago, right herewhere we are today, Yamazaki senseitold me about his Karateka daughters.He cited one of them, Mina, becausebeing 14 years old then, stood outgreatly in competition in the youthlevel. Years have passed and that girlhas become a very prominent figure inthe national competitive circuits in bothKumite and Kata. Mina Yamazaki isalso the one who currently carries outthe day to day of the dojo, as his fatheris somewhat retired from that first line,in Palm Springs, his place ofresidence.

Mina listens intently to her fatherduring our conversation and when Iask Kiyoshi sensei specifically abouther, she gets very interested in theanswer that his father might give, andboth, she and I sharpen our attention. "My daughter is involved in

competition, but despite of that, she

practices Budo and unifies bothcurrents. I believe in an educationalKarate, with a program. The WKFtakes care of Karate as a sport whileI am more concerned about thecorrect instruction, the teachers. Itis very important that they teachKarate correctly, either in one oranother of its ways, as a sport, aspersonal defense ... and that'swhere I make every effort."

I believe it's the right time to enter atricky issue. If both of them want tosafeguard the Ryobu Kai technique, Iwonder how they can keep thebalance between that and thecompetit ion katas used by Minasensei, in which is common toexaggerate positions and othertechnical gestures in order to give thekata a more spectacular view (or atleast a different one), and certainlymore appraised by the judges. Kiyoshisensei tells me: "In a tournament you don't want

to lose, so effectively, kata aredifferent. The competition katas areprettier, but in reality they are notlike that. In Okinawa, kata are verytraditional. Well, there are these two

"If it's properlytaught, the

possibility of theOlympics is goodand it would surely

bring a biggerfinancing fromeach country,

but care has to betaken to avoidthat getting amedal becomesthe only goal ofthe competitors,loosing so theright spirit ."

ways of doing it, but I really want tokeep the sense of kata."I want to push the issue and insist

on the Master's opinion regardingthose changes that seek to give kataa more spectacular presentation,and that he undoubtedly sees in thecompetition katas of his daughter,but they seem to have accepted thesporty form. To Kiyoshi sensei ..."Different katas have differentvariants. In WKF katas are done inone way and in Ryobu Kai in anotherway and, actually... competing is notnecessary."

Seeing that Yamazaki sensei avoidsspeaking directly about his daughterand those "variations of kata"performed in competitions, now I wantto hear his daughter's opinion on thesubject.

How has it been and how is it to bethe master's daughter?"It has been difficult by the

expectancy that was generated, bythe pressure that I've had and I stillhave. I contribute to Ryobu Kai, tothe association. My contribution isnot too big, but it's there. Then, onthe other hand, I'm in the WKF,training hard for the competition. Tome, he is more my father than mysensei, although in a way it may bethe same. I feel very lucky. Logically,he knows me very well, he is myfather!, and he immediately knowsany special situation in which Imight be. At home, he's always beenand is my father, in the dojo he is mysensei. By competing very often, hehas been before me in his federaltechnical positions. I've seen him onthe table and curiously enough, he'sseen me do and has never beenangry with me, although he latertells me what I have to correct."

Now the master, her father, interruptsus to clarify that his wife, Mina'smother ... "usually don't see hercompete because she gets verynervous."

Obviously, Mina Yamazaki has livedKarate since birth. She recognizes ... "I can't recall my beginning in

Karate. I see photos, memories,people say things ... but for me thereis no exact beginning. Karate is mylife."

Mina Yamazaki is still very young,but when I ask her for the bestmoment of her life, he answers with alaconic..."My best time hasn't yet come".

Hearing that, all I can wish is that,instead, her worst moment is alreadyover, to which she recognizes: "My worst moment was a couple

of years ago during a Ryobu Kaiseminar with my father in Venezuela.I accompanied him out of obligation,

though I would soon have my bigbreak for the 2012 World Cup inParis. I got very sick with malaria,with very high fever, and thatprevented me from going to Paris.I felt really bad about that because

I felt I had lost my great chance andalthough I had helped others to fulfilltheir dream, I felt very depressedabout not being able to fulfill mine."

The truth is that I missed Mina in theChampionships in Paris, but at thetime I ignored the reason for herabsence. Mina Yamazaki for her part,unlike her father and teacher, hasnever felt drawn to the world ofCinema and TV."I don't make films. I like the radio,

in which the face is not shown andwhere you can work normallydressed and without wearingmakeup."

Mina, you've worked a lot on theradio and you still do it. What kind ofprograms have you conducted? "Funny morning programs, in

which you play jokes to thelisteners, etc..."

I recognize the formula, because inSpain there are similar programs.

Both father and daughter work sideby side to develop the Ryobu Kai, anorganization that has members in manycountries, including Venezuela,Bahamas, Australia, India, UK, Germany,Sweden, France, Israel, Mexico, Canada, etc., and to which we wish the best ofluck. Our best wishes in general also tothe task that the Yamazaki have setthemselves in regard with their Karatethat, without losing its traditional MartialArt values remains in a delicate balancewith Karate sports, whose spirit pushesyou to be better than the rest, instead ofcaring only about improving at personallevel. Good luck anyway and mydeepest appreciation for how incrediblywell I am always treated in their home, intheir dojo in Ryobu Kai.

All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.

REF.: TAOWS-2REF.: TAOWS-2

TAOWS Academy. Wing Tsun Advanced. Sifu SalvadorSnchez Wing Tsun is an excellent style of Chinese

boxing that permits a lifetime training experienceand an integral development of the individual.Its ideas, techniques, philosophy etc , it allbelongs to an ancient art and must bestudied and understood in its whole. SifuSalvador Snchez focusses his seconddvd on the wooden dummy and howit influences all of the Wing Tsunpractice. Given that the woodendummy form is taught at the finallevels of the actual system oftoday, most practitioners thatleave the system before time don'thave the opportunity to know theideas and concepts hidden withinthe form, and they cannotincorporate them in their practice.For TAOWS academy it is veryimportant that the practitionerunderstands what he is doing alwaysand in every aspect, and for this, in this

dvd we are going to follow the sameoutline that we follow in our classes,

seminars and training sessions. Our outlinefollows six steps, the first one is to develop an

idea, what we want to achieve. The second partare the forms, Siu Nim Tao, Chum Kiu, Biu Jee, the

wooden dummy form, depending on eachs level, the thirdpart is footwork, mobility understood. The fourth pillar is Chi Sao, ChiGerk, stickiness, the soul of the system. The fifth element is nonstickiness and no contact, to know what to do in order to reach contactwith the opponent in a safe way.

Budo international. netORDERS:

lthough Hagakure is mainly concerned withthe vicissitudes of mundane life for samuraiin a time of peace, references that shed lighton the winding path of budo are dottedthroughout the text, and sti l l apply topractitioners in the 21st century. It is easy toforget that the samurai were just human

beings as well, and not the supermen that popular cultureinsists on glamorizing them to be. As humans, they hadflaws, and when it came to the martial arts, there werethose who showed awe-inspiring abilities, and others whowere, well, just plain bad at it. Persevering over a lifetimeof arduous training was, Hagakure advises us, the onlyway to transcend the constraints of mediocrity.