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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.: • DVD/SERAK-1REF.: • DVD/SERAK-1
Pukulan Pencak Silat Serak is a very brutal and devastatingArt. The Arts concept its to dominate and take overbattleground and space, fast dominating space and engulfing
opponents to prevent them from being able to usetheir weapons or body. Once space is acquired,
the base and angle are taken to controlopponents rotation or projection, rooting
or uprooting is produced from thesmallest expression of touch orangle and base position, this wecall “Lengket” or sticky.
Keeping very close toopponents when striking orusing a weapon and puttingopponents on “Slywa” orweightless stage of spinaland muscle misalignment.Once rooting takes place,the strike makes massivecontact in the body that hasno muscle or skeletalprotection. “Sambuts” arefinishes meaning somethingvery hard to walk away from
especially when compression ofneck or spine, so finishing means
its a done deal. The opposite ofthat is a “Buang” that stands for
throws less devastating in the beginnerlevels but taught to learn mechanics that
in later phases of development of thestudent or practioner can be modified to
“Sambuts” for devastating throws. Compressingskeletal structure, weapons and body structures or striking,grapping defense and offence are all played and studied in ourplatforms. In this video there's a beginner “Pantjar” platform,also the “Jurus”, which are the playbooks of the system ofPukulan Pencak Silat Serak, are played here. This platformteaches where to be in position to attacker, the platform is 3dimensional and teaches where opponents body's alignmentsare the weakest to point of contact the platform. It also teacheshow to deal with multiple opponents and space needed, baseangle and levers are all play here. Hope you enjoy my smalloffering into a vast large Art. “Hormat Terima Kasi”.
Budo international.comORDERS:
artial Arts”. We are so accustomedto saying it that we don’t even stopto think about what Art means. Wedo Martial Arts, speak about Art withcapital letters, of the Arts,
handicrafts, the artistic and the artists, but would weknow how to define its meaning if some indiscreetand curious student (and there are always some)threw such a question at us?
Everything artistic is surrounded by a halo of charmand transcendence that is frequently disconcertingand at times turns off those ignorant in the material.This generates a certain elitism frequently poorlyunderstood, an elitism that shouldn’t correspond toany social difference, but rather on the personal level.Art is not a question of status or stock, it is, perhaps,an aristocracy of the spirit; however, the obtuse,closed languages, the ostentation behind what ishidden in the pretentious speeches of the critics, thatmeta-language with which they wrap thisphenomenon, have distanced it from its truedimension, from its natural space, a space accessibleto anyone (not necessarily intellectual!) thatapproaches it sincerely, with the skin and the fivesenses open to the experience.
For me, Art is the expression of the mystery of theinvisible.
The invisible, for being such, isn’t to say that itdoesn’t exist; nor does it say that all beings whoparticipate in its mystery don’t perceive it. It simplymeans that it is not in sight, that it remains hiddenbehind each thing, each Being, in the very make-upof the Universe.
Art belongs to the world of mystery to the extentthat it is able to surpass restrictive definitions thatwant to put a value on it in function of aesthetic,philosophical and of course technical recourses. Artis not techniques; these can be the tools with whichwe approach it, but knowing the Arab alphabetdoesn’t necessarily mean that we know how to writein Arabic, and much less that we can write a poem inthat language.
As in all that concerns mystery, Art is in itself a wayof superior consciousness. Penetrating its languageis undoubtedly a way of transcending ourselves, ofgoing beyond our perceptive limits and navigatingthrough those beautiful seas where everything ispossible, a privilege that until then was only theassets of the gods. On such a voyage we learn to usecreativity, that way of getting something fromnothing, or simply of mixing everything, and the finalresult is new, and of course superior in value to theparts that make it up.
The artist is born, but is also made. Born to theextent that we are not equally gifted with the toolsof sensitivity and of the necessary strength to firstperceive, and later be able to express the mysteryof the invisible with the same intensity. However,given that we all contribute to it (in the same waythat the drop is part of the ocean), we can perfectlyenjoy the expression of others as references on ourpath, as emergences from our own perception ofthe mystery. The artist, then, is in some ways ahierophant, an emergent from the collective. Theyreceive what is being emitted with their antennas,“that which inundates the air” at a precise moment,in a specific place, and they are able to express it,re-written through their personal stamp. Thisexercise occurs not so much as the result of thevirtues of the artist as from his defects, despite thefact that the majority of us think the contrary. Whatis certain is that the artist possesses the ability toexpress his “feelings”, but these usually feed on his“deficiencies” before his “excesses” as anindividual. The artist is frequently an especiallyunbalanced being, and it is precisely in his effort toreach a certain personal balance that he attains, byusing his facets in excess (abilities), a betterbalance through his expressive work, his struggle togive form to the intense, vital perturbation thatcontinuously alters the natural tendency towardinertia that we all carry within us.
The suffering of artists in the act of creation hasalways been spoken about, but what is certain is thatthe suffering is previous. However, it is conjuredthrough this same act. This is, of course, like all birth,an event that requires effort, that involves a certaindosage of pain, of consciousness, and of a strangemix of will and abandon. Yet, the end result is notonly balancing but especially able to contribute acalm pleasure that has no equal.
Whatever the Art in question might be, Art is therein order to serve the artist and not the reverse. Theend is not the work, the result, but the path that itsrealization involves. The true achievement of the artistis within him; what remains outside of him is thematerialized result of his conquest, not the end of it.If, besides, what remains has that rare quality ofbeauty and is capable of moving others, well…frosting on the cake!
In few Arts like in the Martial Arts the result of theconquest is briefer and more fading than our way ofexpressing ourselves. Like the Arts of Mars, ourpractices manifest themselves inconveniently, in theimmediate, and despite their attending to mattersclearly tangible and basic like self-defense, its artistic
"Art is man added to nature."Vincent Van Gogh
"Without art, life would be a mistake."Friedrich Nietzsche
M“
result is immaterial as in the case of dance or music; we arethe very canvas that we paint on.
Like in other artistic forms, there are many levels ofmanifestation, an immensity of formulas to approach thecreative and transcendent act of reaching and expressing themystery. In its highest conceptions, the Martial Arts have theembodiment, significance and strength of a way of life thatinvolves all of our Being, physical, emotional, and mental, insearch of the mystery, in the realization of the ultimate Truth. Inthis sense there is a book that in my opinion marvelouslydescribes this quest and its implications, “Zen and the Art ofArchery” (Bungaku Hakusi), by Eugen Herriguel. I would like tofinish this editorial quoting two of his many wonderful paragraphs,full of the deepest meaning of the way of the warrior. I hope that youlike them and that they intrigue you so much that you can’t help butread the whole thing, as happened to me, now almost thirty years ago:
“The spider ‘dances’ its web without knowing anything about theexistence of the flies that will be trapped in it. The fly dancingunconcerned in the sunlight gets caught without knowing whatawaits it. Through both, “It” dances and the interior and theexterior are one in this dance. In the same way, thearcher hits the target without aiming exteriorly.”
“If one feels irresistibly driven toward that goal(supreme freedom)…) he has to walk once againon the path of the Art without artifice. He has tojump back to the origin (and original) so thathe lives from the Truth like someone who hasintegrally identified with it. (…)If he comesout successful from this adventure, thenhis destiny will be consumed in theconfrontation with the non-refracted Truth,the Truth that is above all truths, theamorphous origin of all the origins: theNothing that is everything, the Nothingthat will devour it and from that beborn again.”
3
Alfredo Tucci is Managing Director to BUDO INTERNATIONAL PUBLISHING CO.e-mail: [email protected]
https://www.facebook.com/alfredo.tucci.5
Interview
“We believe that Chinese MartialArts have many possibilities to betotally efficient, fully respect thetradition and origin of the style
and also enrich us with all thevalues that are part of the overall
practice of Kung Fu.”
Sifu Salvador Sanchez has become in recentyears a reference in the world of Wing Tsun inEurope. The growing of his institution, the TAOWSAcademy, doesn't leave anyone indifferent andmany Martial Arts enthusiasts are interested inhis work. Coincidences do not exist in any field ofexpertise. Not even in this one. Good managementalways works. Sifu Salvador and his team ofteachers are a clear example that withperseverance, honesty and love for the art, it'spossible to grow as an institution. "Taking care ofthe art", like this friend of Budo International likesto say. For those who do not know Sifu SalvadorSanchez, we must say that he is perhaps one ofthe most popular students and with a moreadvanced level of Sifu Víctor Gutiérrez, of theLeung Ting Wing Tsun lineage. He studied for overtwenty years directly with Sifu Victor. Four yearsago, Sifu Salvador created the TAOWS Academy(The Art Of War Society), today it's a referenceinstitution in the WingTsun in Spain and it'sincreasingly growing worldwide.
This month we announce the launch of a newDVD which surely will delight the lovers of the"Eternal Spring" style: Wing Tsun Kuen.
“The approach I give to my practice is focused on thepursuit of the system efficiency. And we will never achieve
this without understanding why, for what and how. The technical, tactical and strategic knowledge that the
ancestral tradition of Wing Tsun conveys to us.”
Budo International: Well, first of all we wish to express oursincere gratitude to you for having attended us, it's a realpleasure to have you back here on our pages. Now to beginour interview, we would like to ask you something that surely
you've been asked about many times... Why did you createthe TAOWS Academy? Why didn't you continue with
your Master's project?Sifu Salvador Sanchez: I grew old... (Laughs). Itcomes a moment in the life of a martial artist inwhich it's mandatory starting to put intooperation your own ideas. It's life itself. Manydidn't understand it at the time and in fact,they still don't understand today, but I amconvinced that this has been the mostsuccessful decision of my whole life,martially speaking. I've always said, I stillsay and I'll keep saying that I don't havewords to thank everything Sifu VíctorGutiérrez did for me. He always behaved
exceptionally in every way, especially in thepersonal aspect, and, martially speaking, I
must say that he's been the greatest Master I've everhad and the one that has most influenced me. Youcould say that more than eighty percent of what Ipractice today is what I learned directly from him andI feel deeply proud of all that. Some say that mystyle is pretty much like his... to me it's a realcompliment!
I have to recognize the excellent work that mySifu has done in his institution, Wing Revolution,and technically it seems to me a reallyinteresting concept.
My "Way" goes today in a completelydifferent direction, which is that of getting atrue evolution of the style in order to try todo it better than the previous generationdid.
I know it's a rather complicatedmission because it's diff icult toovercome the work of Masters likeSifu Víctor Gutiérrez or Sifu KeithRoland Kernspecht, but that'swhat I'm going to try anyway.Surely it's presumptuous on mypart to set such an objective,but that's the way I am: aperfectionist. I will always tryto gradually improve what wedo and that's why myapproach is going in a totallydifferent direction than theone followed today by myformer classmates.
B.I.: And which is thatdirection?
S.S.: To explain this,again I' l l refer to areflection that myMaster used aroundfifteen years ago:"The first step forany evolution must
“The concept ofevolution orinvolution is
something quiterelative in the
Martial Arts worldbecause it will always
depend on theviewpoint of the
beholder.”
be the full knowledge of the style"... This phraseremained burned into my being as with a hot iron, andit's with which I began my job. I worked hard to knowevery "corner" of the system. Completing the forms ofthe system and working with them for a while, studythem in depth, became a fundamental issue for me.Only later, with a much clearer vision, I could start toset up an evolution. But this progression can NEVERforget the origin of the style, its history and itsparticular idiosyncrasy. In short, "the essence of allevolution lies in its tradition.
B.I.: Explain yourself, please… what do you meanwhen you say put evolution and tradition hand inhand?
S.S.: During the long period of my life that I havedevoted to the study of Wing Tsun, there has always
been a constant debate between theadvocates of evolution in pursuit ofefficiency and those defending theidea that Wing Tsun shouldremain as i t had beenexplained by Grandmaster YipMan. I never agreed or witheither s ide for a s imple
reason, if we talk about thosewho defend the tradition, I must
say that I fully understand theirreasons. For many of them i t is
essential that the style is kept as pure aspossible, but I'd throw them a reflection I've
made on many occasions and would like to sharewith my friends: do you think that Wing Tsun hasn'tchanged in the last twenty five years? And in the lastfifty? And in the last two centuries? Wing Tsun is astyle of Chinese boxing that has undergone constantchanges since its inception, now five hundred yearsago. But there's no need to go very far back in thepast... if we take a look at the direct students of YipMan, we'll see that even among them, in the samegeneration, there are already differences. So, if wereview one or two generations, we realize that therehave been obviously great changes. Thus trying to
keep a style without any change to the overallcontent, without evolution, is but a chimera.On the other side are those who claim that "the
forms do not work"... that "Chi Sao is not good"... that"what must be sought is efficiency, basing the style onthe concepts"... that "Wing Tsun should seek solely thevalidity or application to self-defense", etc., etc. Thereare even those who permit themselves affirm that WingTsun is not a system of Kung Fu but a mere self-defense method. I haven't got time to argue with manyof those who have such ideas. In contrast, I try to putmyself in their place to understand how they havecome to such claims. But the truth is that for me, atpresent, Wing Tsun, on top of that, is alsoPHILOSOPHY, HISTORY, MEDICINE, GEOMETRY,ETC... In short, a real pearl of traditional Chineseculture that has already become heritage of mankind.And that's the approach I want to give in TAOWSAcademy. I wish that those who come to my school topractice could experience what I have been able to doin these more than 20 years. I'd love to invite them tocheck the way WT influences on its practitioners sothat it becomes a real "way of life" for them. I do notwant to stay with just one of its parts and of course Idon't want to convert it into a simple self-defensesystem. That may look good in a magazine or tabloidtext on Martial Arts, but it's very far away from what isreal Kungfu.
B.I.: Some say that you are walking toward thesource, the tradition...
S.S.: In short, the concept of evolution or involutionis something quite relative in the Martial Arts worldbecause it will always depend on the viewpoint of thebeholder. When people say that my style is movingtowards a more classic style, they are right. However,I can tell you that I had never felt so sure - and notonly I, but also my team of instructors - that in recentyears we have acquired a combat capability basedon that point of balance between the study of themost classic art , but without forgett ing theperspective or the approach toward the overallefficiency.
We believe that Chinese MartialArts have many possibilities to betotally efficient, fully respect thetradition and origin of the style andalso enrich us with all the values thatare part of the overall practice ofKung Fu.Currently I don't ask myself
whether I am more "classic" or more"modern", or where is my Wing Tsungoing, I simply study with passionand try to convey that same passionto my instructors and schools. In this
sense, I am very happy and I hope tokeep doing so in the future."
B.I.: How would you assess theevolution of TAOWS Academy asan institution?
S.S.: I must admit that I receivedinteresting offers to join veryimportant institutions, but I decidedto start with my own course fromscratch or from virtually nothing, andtry to do things my way and in thebest possible way.
I made mistakes and I guess I'llcontinue to do so, but they are mymistakes. They won't be anybody'smistakes, or errors of a greatinstitution in which there arethousands and thousands ofpractitioners whom haven't seen inmy life. Although TAOWS has growna lot, I know most of the students ofour schools, because I've seen themin a seminary, because they haveattended some of my courses orsimply because I have contact with
them for various reasons. That's something I like verymuch and that reinforces the decision I made at that time.The TAOWS Academy is a small institution that doesn't
have in itself the intention of growing but, curiouslyenough, it grows! It grows steadily by an issue that, tome, is clear for some time: a well done work. It will notplease everyone, but it will be attractive to those whohave a similar idea, those that I want walking by my side,practicing Martial Arts by my side. To the rest, with alldue respect, I wish them well and let them do whatmakes them happy, but it's quite clear to me what mydirection is and what the direction of the TAOWSAcademy institution is.To assess our evolution as an institution I will say that I
am HAPPY. Happy because two months ago, at ourinternational convention, I could sit down and dinner withmy instructors and masters and enjoy! Just like anygroup of Martial Arts fans and friends. We laughed,shared, trained and enjoyed together! And that is for methe best direction of a Martial Arts school.
B.I.: How would you define your Wing Tsun? What isdifferent from other schools?
S.S.: Actually, my Wing Tsun is different because allschools of Wing Tsun are different. If we take ten schoolsof various Wing Tsun lineages we will see that all of themare different.On my last trip to Hong Kong, I asked many of the
masters whom I interviewed the reason of thedifferences among the schools of Wing Tsun. Why thatinequality at a technical and even conceptual, andsome of their answers were amazing. One of themsurprised me with a very interesting reflection: "Well,differences are normal because everyone has anopinion and a different conception. Basically thedifference among the schools lies in the interpretationof the Kuit Kuen."My Wing Tsun is different because it's the one I do.
Even I must say that in ten years it will probably bedifferent. Fortunately! I think that evolution is CHANGE.And styles, like people, change over time.
The approach I give to my practice is focused on the pursuit of thesystem efficiency. And we will never achieve this without understandingwhy, for what and how. The technical, tactical and strategic knowledgethat the ancestral tradition of Wing Tsun conveys to us. So maybe mystyle is a little different than others. Although if I must be honest ... I couldcare less about what my style looks like or if it's different from otherstyles... I just enjoy practicing and teaching the best way I know.
B.I.: Last year you travelled to Hong Kong and conductednumerous interviews with many great masters, what was yourexperience?
S.S.: At a personal level, this trip was very interesting because itallowed me to meet some of the most important Wing
Tsun figures in Hong Kong.In my opinion, Wing Tsun in the East and in theWest lost that connection for different reasonsand I think that is sad. Together we are capableof many more things. I was glad to meet many
of these masters that now are "friends" and towhom I plan to visit each year and present all my respect
to those who have served as "guardians of tradition". Thanksto many of them today we can practice this real treasure.
B.I.: We've talked about the past and present. What are yourplans for the future in TAOWS Academy?
S.S.: TAOWS Academy emerged like a very small group of Wing Tsunfans. The vast majority of them still remain in the TAOWS Academy. Aswe advanced, some of them have not been able, or have not wanted tokeep up with the institution. It is a pity. But we are consistent, we mustkeep walking. We understand that this is not a path for anyone.Nevertheless, we want to thank them for everything they did for theinstitution. Product is the evolution of the institution. If I have toput a snag, I will say that sometimes I think we've grown too fast.Currently we are in a process of consolidation at theinstitutional level. So we are trying that our schools areadequately formed, that teachers are constantly recycledand that there exist a sense of methodological unityamong the school directors. And perhaps mostimportantly, that those who represent the institution
feel a deep LOVE for what we practice.As for the future, our projects are to keep doing
the same thing: PRACTICING! We would not be fairif we posed now big growth projects because inreality what we like is practicing Martial Arts, andthat is what we are going to keep doing in thefuture: practicing Martial Arts with all ourpassion, with all our respect for the traditionand the style that has given us so much in ourlives. From there on, whatever comes will bewelcome! But what is not negotiable underany circumstances is our fundamentalreason to do what we do: Wing Tsun!
B.I.: You have launched an onlineformation platform called TAOWSUniversity. What is the reason?
S.S.: The growth of our schools, notonly in Spain but worldwide, forcedus to create a tool that wouldconnect schools across the worldin real time.
TAOWS University is an onlineformation platform developed
with great effort and greatwork by our association.The main reason in itsorigin was to facil itateaccess to information to
our teachers and schools wherever they were and inreal time. That is, Mondays I usually get together withmy team of instructors in Murcia, where I live, to talkabout the aspects on which we are working. Weusually record some of the ideas that I have to workduring that week or for the month ahead. Then I getthese ideas on the training platform and transmitthem to all schools worldwide. Thus, everyone can beworking on the same line as us and therefore weare all in a very similar direction. This makesthings easier when I go to give a seminararound the world because they aretraining on the same line, exactly thesame, wherever they are.When the platform started to
operate, we saw the opportunity toopen it not only to the schools, butalso to Wing Tsun fans andpractitioners who are willing to learn but fordifferent reasons are unable to attend classes asoften as they want; so we began to put on theplatform training courses on various aspects of stylewhich had a great acceptance.Now the TAOWS University is certainly the most
important on-line Martial Arts training platformexisting today, I have no doubt about that, and I'msure that it will be even bigger and more important inthe coming years. Soon our entire platform, which iscurrently only in Spanish, will be available in Englishand that will allow us to reach many more people.With TAOWS University we certainly had a great
idea and we are very confident that in the future itwill be a very important part of TAOWS Academyas a way to make known our philosophy and ourworking methods worldwide.
B.I.: Many say that the key to all thegrowth of your institution is the way youorganize teaching. Is it true? How areSifu Salvador Sánchez's classes ortraining sessions?
S.S.: I don't know if that is the key.What is clear is that I currently teachthe way I'd like I had been taught. Imean, I understand that thetraditional one-to-one Chinese
Interview
education system made sense when schools were very smalland teaching was given to very small groups or even in privatelessons teacher / student, but when you have a group close totwo thousand students this is impossible. Therefore, the firstthing I posed after learning the style from A to Z, was toorganize instruction in a logical and progressive way so thatanyone could learn the style from A to Z, letting the student puton his own his time and passion for Martial Arts, and givinghim an orderly and logical training system.Each program has six parts and these parts are very clearly
defined in all our training guides, also in our TAOWS Universitytraining platform.
• Every program starts with "idea of developing". When Iteach someone the first thing I say is what I want to get outof him, what are we going to work on that program.
• The second point is "forms". Forms for me aremeditation exercises in which I work out technical aspectsand especially the ideas with which I am going topractice.
• The third point is "displacements". In my opinion inthe more traditional Wing Tsun training system; thisaspect represents a major lack because there many andvery interesting displacements in the style which arehardly trained. So I make a really important emphasis inthis section.• The fourth is "no contact / no adherence". Agreeing that
Chi Sao is the "soul" of the system. The ability to be stuckon the opponent's limbs to notice the direction of hisstrength, its voids, the distance, etc. But when for whateverreason this doesn't happen, is not possible, a situation iscreated in which I don't have the contact. For us this is a veryimportant part within the practice.
• Paragraph number five is "Chi Sao". As I said before,it's the most important part of the system. We are
sure that linking some concepts, perhaps not somuch linked to traditional Kung Fu, such as
biomechanics, structures, knowledge of
“With TAOWS University wecertainly had a great idea and
we are very confident that in thefuture it will be a very important
part of TAOWS Academy as a wayto make known our philosophy andour working methods worldwide.”
“My commitment to everyonewho comes to my school is that
I will teach him ALL I KNOW!No secrets.”
“My Wing Tsun isdifferent because all
schools of Wing Tsun aredifferent. If we take
ten schools ofvarious Wing Tsun
lineages we will seethat all of them are
different.”
physics, etc., we can get better results in our practice. We knowthat the vast majority of Wing Tsun schools focus almost ninetypercent of his practice in Chi Sao. For us, this being the mostimportant part, is approximately sixty percent. The other forty isdedicated to other aspects we consider fundamental as I havealready commented displacements, forms or the "nocontact / no adherence" section.• And finally paragraph number six, which is ??Lat
Sao (sparring). We think of Da Lat Sao. From thepoint of view of combat, we are going to try thateach practitioner understands why, for whatand how of every technique and strategy sothat everyone can develop his or hermaximum combat capability within their ownlimits.So paragraph number six always closes
all programs and the test of each one is tocheck whether the student is able to applythose principles, those ideas of each program ina controlled sparring with a partner who won't collaborate or atleast not excessively.My commitment to everyone who comes to my school is that I
will teach him ALL I KNOW! No secrets.
B.I.: The TAOWS Academy institution uses "Discover YourGreatness". Can you tell us something about it?
S.S.: We school leaders agreed that the phrase "DiscoverYour Greatness" summed up what we do in a fairly accurateway.Discovering is a challenge and a sign of intentions that
we launch to our supporters and fans. We pose them thechallenge of discovering the full potential that existswithin each individual.Discover Your Greatness is an invitation to each of
those who come to our schools to find out howmany great things can be accomplished with just afew hours of training, study and effort in a trainingroom practicing and sharing with others. I amquite sure that in most cases, Chinese MartialArts, and, in this case, Wing Tsun, will changethe lives of many of them and will makethem discover the huge potential that existsin each one.
B.I.: And finally ... A NEW DVD!! Whatis it about?
S.S.: This is the third DVD that we record for BudoInternational. For us it's an honor, it's a great joy to keepon working with Budo International because we consideressential for our institution transmitting what we do. Themagazine has always treated us excellently and we arevery happy to continue walking with Alfredo Tucci nowand hopefully for many years.In this new DVD we address issues related to Chi
Sao. Its title will be, "Chi Sao from the base to the
advanced level" and it will address issues in theforming line of how to practice Chi Sao through ourworking drills and how to apply these drills, this ability,in a sparring. We believe that Chi Sao must providepractitioners with great virtues and we want to clearlyshow both the way to train and how to apply thesevirtues.So I think this DVD can be really interesting for many
Wing Tsun fans and we hope it really serves.
Interview
Wing Tsun
“If you are interested inorganizing a seminar in
any country in the world,please contact our
corporate informationmail:
www.wingtsuneurope.com”
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.: • DVD/FEH-1 REF.: • DVD/FEH-1
José Manuel Reyes Pérez, Hapkido 7th Dan by theWorld Hapkido Federation (WHF) and a member of theBoard thereof, International Director for Western Europeand President of the Federación Española de Hapkido(FEH - Spanish Hapkido Federation Hapkido), in his first
DVD, presents a complete treatise on thetechniques that make truly great this
traditional Korean Martial Art, throughthe legacy that was directlytransmitted to him by GrandmasterKwang Sik Myung, Hapkido 10thDan. Hapkido is the Art ofDynamic Self Defense parexcellence that combinesspeed and fluidity, alongwith the physicalpreparation, technique,breathing, meditation andthe cultivation of internalenergy. An art that coversa variety of techniqueswith and without weaponscombining defenses andattacks, including leg, knee,fist, elbow, throws andchoke techniques, and veryespecially dislocation
techniques. In this work, MasterReyes shows us the Danjon Hop
breathing exercises, the GonkiokSul arm attacks, the Jok Sul double
and triple leg techniques, the Ho Shin Sulself-defense, the Dan Bong attack and
defense techniques with short stick, and defenseagainst knife. A complete work on an art, Hapkido, or theway of harmonizing the energy, the practice of whichhelps greatly improve our health, both physical andmental, and provides the practitioner with vitality, energy,self-confidence, character and personality.
Budo international.comORDERS:
Developing speed
The development of speed in Martial Arts is of theutmost importance if you want to succeed. Fastblows and attacks will allow you to hit your oppo-nent first using devastating and effective combina-tions.In his daily training, Bruce Lee, like other great and
renowned martial artists, worked hard toward thedevelopment of speed. To achieve this goal and getoptimal results, we must use the appropriate exer-cises. In my personal experience as a master andtrainer of both amateur and professional fighters, Iuse the boxing speed development training system.
ne of the types of exercises I most frequently use in orderto develop speed is shoulder training. Shoulder exercisesare highly effective in training nervous fast movements toincrease muscle strength. This type of training involvesdoing several individual exercises sequentially without rest
in between. Grab a long bar of about 40 pounds weight (18, 14 kg) andhold it up at the level of your shoulders, with your hands apart at theshoulders width. Pull the bar forward, quickly repeat this movementuntil your shoulders are tired. The movement should be parallel to theground. Then, using dumbbells of 8 pounds (3.62 kg), performcombinations of straight punches to the jaw until you're completelyexhausted. Finally, with the same weights, perform front raise dumbbellexercises alternating with lateral raise dumbbell exercises. These seriesof exercises will build up a tremendous muscle resistance in your armsand shoulders and will vastly improve your hand speed.In most cases we have noticed the limited use of speed bags on the
martial artist’s daily training. Using the double end punching bag is agreat exercise to improve the speed in your hands and muscularendurance. The exercise itself forces you to maintain your rhythm whilethrowing quick blows. The routine develops fast nervous movements inthe upper body, which are responsible for the general speed andexplosiveness. When hitting the double end speed bag, move in a circleto mimic the actual boxing movements. As you develop a greater actioncapacity in controlling the speed bag, mix shifts and hooks to get thefull benefits of this workout.Similarly, it's also possible to improve your speed by using wrist or
ankle weights for traditional martial exercises. For example, practicingshadow boxing with light weights, possibly 5 or 8 pounds is highlyeffective to improve the speed of your hands. You will immediatelynotice the increasing stress on your arms and shoulders. After a few
Farang
O
weeks of training, you will see a markedimprovement in the speed of your handswhen you take off the weights. Besides, byusing weighted ankle supports whileworking out with the boxing sand bag andthe gloves you wil l improve your sidemovements, since this practice will buildstrength in your calves and will increaseyour speed. The weights to be used shouldnever be so heavy as to prevent you fromdoing properly the movements through theexercises.The double end punching bag has
become my most important ally when itcomes to work out speed with my studentsand fighters. Another important add-on is the jumping
rope. Rope jumping will help you developthe muscles used to perform quick strikes,which are the fast-contraction muscle fiberswhich locate at the top of your back andyour shoulders. Move quickly your knees upand down while moving your wrists whenjumping rope.Incorporate interval training into your rope
jumping routine; for example, alternate fastjumps for 30 seconds, then slow down for10 seconds. This method could allow youfocus more on speed during the acceleratedpart of the interval.By using these exercises you will see a
significant improvement in the developmentof speed and martial performance. So get totrain!
“In his daily training, Bruce Lee, like other great and renowned
martial artists, worked hard toward
the development of speed. To achieve this goal and
get optimal results, we must use theappropriate exercises.”
Farang
Iaijutsu...
The sword and the other side! ...
"Three out of ten people adhere to the pleasures oflife and so they give themselves totally to the power ofdeath..."
Lao Tzu
Every time I clean my sword, I see somethingdifferent; it's dirtier, smaller, or larger, prettier, or uglier... It's funny, but surely, my sword has nothing to dowith my daily perceptions. We notice that our mind ismoving when something we like stops being importantto us, stops shining ... Many of those who practice theway of the sword begin to have such perception whenthey no longer feel the need to do anything for anyone.Let me explain:
When we began our practice, we make ourmovements for the sake of personal satisfaction,something we could called search, dream... later, wedo so that our masters praise us; then for people praiseus ... until all that "tarnishes" and it's then that we reallybecome mighty with the sword. This powerfulintegration process between mind and time, truth andillusion, really makes us think that there is somethingmore. In my case, my perceiving and awakening wasby detachment, by our need for conservation of theimmutable.
Great masters have always used their deep wisdomto il luminate their inner beings, to breaking the
Bugei
“It's the void state whatpermits to unsheathe the
sword in a fast and accuratemovement!
Many fail to do so!”
passions and thus put an end to all suffering foreverand ever. This leads to the complete elimination ofthe two types of death [natural and violent] and hopfrom the ocean of misery to the realization ofawakening, that is, what is called the other side.
Nevertheless, through the imaginary fight held inthe "kata", we feel that what really matures is totality,especially involuntarily. We can say that thoughtssucceed one another in their endless string until oneof them turns to itself: to the "self-recognition".Unsheathing is no longer simply drawing the sword,just as the subsequent movements such as cutting,the "Chiburi", the "not" ... I believe that many,certainly have already felt these sensations, includingthe need to jump from the appearance and reach theother shore, thus crossing the bitter ocean thatmakes out of the sword an object of vanity. It's thevoid of wisdom; of the encounter! The form does notdiffer from the void, or the void from the form. Theform is identical to the void and the void is identicalto the form.
It is easy. Once, a friend and I were face to face,both ready to unsheathe our sword. It was aboutsearching the void of the opponent through speed. Ata given moment, I realized that certainty is anobstacle to the movement when this movement isfacing another movement.
The search for what is right, sets hardly a way to becorrect. That is, if we calm our mind by stopping ourmovement, such quietness will move our mind even
more. That explains that while we are in this duality, itis impossible to know the oneness.
It's true that the synthetic thinking of the moment,especially when it has a target, must have, if not thedetails, at least its latest results. Empty knowledgeshould be elevated, the one that is not maintained,but flows.
Who has not ever seen a drunk avoid an imminentfall? Diff iculties, unbalanced, but even so, heunwittingly makes his movements ... These branchesof human knowledge, these disciplines, indeedappear to us in circumstances that serve therestricted scope of the particular, fragmentary andeven divergent circumstances; therefore, we must notforget that there is a point that dispels the notion offragmentation: the object is unique; it's the sameunitary universe, where all roads lead to the verycenter.
Mainly in the fastest sword techniques, neatlyexecuted, the detours and curves and detours of thevoid arise from the deceptive visions of the opponent;there's no need to seek the truth of the movement,just the cessation of these visions and follow thenormal flow. This is the reason that there may bediscrepancies, for example, between the revelation ofthe moment of drawing the sword, cutting, dodging,the philosophy that is taught through stories,anthropology, science etc. "One" void is like "two"and each void contains all things. When there is nodifference between this and that, how could you
Bugei
“The perfection ofthe form is in theacceptance andcontemplation,
until the day whenour inner being willbe pleased with
the formexecuted.”
Bugei
prefer one or the other? That is the point in which,dissolving the certainty favors the void of themoment, of the opportunity, of the sword, extensionobject of the body.
It is easy; in the void we flow ... in the flow, weobtain certainty ... Removed all fears and doubts,true confidence is strengthened; no longer remainsnothing more ... Nothing else to think about, nothingto remember...
On the other hand, it is true that the "Seiteigata"practice promotes good understanding of techniqueas a tool of war, in a normal situation of an alreadydistant past. Still, it must be remembered thatpossibly, the opponent would not follow (in a realbattle) the forms we train in various sequences;considering that, in every confrontation there is adifferent story; a place, a technique...
Accordingly, we must be aware of a clear practiceregarding the exercise and dependence of theseforms. It may be easier if we note that training, in turn,serves the needs of martial literacy; awareness is theuse of this literacy. The "Mushin", so sought after bymasters, refers to the idea of ??not procuring the time,not tempting to listen the illusory phenomena weimagine through the way of the sword.
Several students whom I tried to explain thisconcept, said to me: "I don't understand, I don'tunderstand...!"
I t i s l i ke s a y i n g t h a t a t t h emoment of real confrontat ion,facing the Mushin, wisdom doesnot exist. At the time of death, itwill not disappear. It's the voidstate what provides a fast andaccurate unsheathing! Many fail toe s t a bl i s h a c o n n e c t i o n t o t h eexterior and illusory universe. Atthat moment, they develop a rage and hatred thatare mixed with the frustration of an imagined butn e v e r re a c h e d s u c c e s s . I t i s i mpo rt a n t t oremember that the "void in the thoughts", alsome a n s t h e n o o bs t ru c t i o n o f t h e wa y s o funderstanding and externalization of the mind. Inother words, facing frustration, when it happensin the void of practice as a form, do not hate orlove the thoughts that arise, and above all, do notkeep them.
Anyway, practice the "Tadaima" here and now. Ifyou don't keep your thoughts, they will not return bythemselves. If you give yourself to inhale and exhaleletting it fills you in a harmonious swinging, nothingwill be left but the moment that was manifested in itsexact form.
The perfection of the form is in the acceptanceand contemplation, until the day when our innerbeing will be pleased with the form executed.
Bugei
“When we began our practice,we make our movements for
the sake of personalsatisfaction, which we could
called search, dream... later, we do so that our
masters praise us;then for people praise us ...until all that "tarnishes" and
it's then that we really becomemighty with the sword.”
“It is easy ; in the void weflow ... in the flow, weobtain certainty ...
Removed all fears anddoubts, true confidence isstrengthened; no longerremains nothing more ...
Nothing else to think about,nothing to remember.”
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.: • KMISS-1REF.: • KMISS-1
In this DVD, Master Marco Morabito, with exclusive rights forBudo International, presents a preview of the Israeli KravMaga Survival System. In this colossal work, the basicmethod and techniques of this discipline are illustrated in aclear and transparent manner. That is, no secrets, but in an
extraordinary job that will take you to the verycore of self-defense. The techniques are
illustrated so that they are easilyunderstood by all. A truly uniqueopportunity to approach self-defense or improve yourknowledge on the subject. Theauthor is one of today’s topself-defense exponentsworldwide and has to hiscredit an extensiveexperience both in themilitary field and in securitycompanies; awardedseveral times in variouscountries and acclaimed byhis courses and seminarsaround the world, he hasbecome an internationalspokesperson for differentcombat and self-defensesystems, little known but highly
effective. He has learned andstudied all over the world, from
Japan to the US, via Poland, Spain,Cape Verde, Germany, Israel, France
and Russia, a continued research inremote areas of the world, such as Siberia or
the desert of Texas, without stopping at any point inhis tireless search for new knowledge without ever stopasking questions. The Israeli Krav Maga Survival System isnot a discipline or a set of rigid rules, but a method, a processof continuous and constant evolution. This makes it adaptableto any situation and circumstance and permeable to anychanges, and then be able to take stock of its mistakes anduse the experience as an opportunity to improve.
Budo international.comORDERS:
Professional self-defense systems are intertwined withMartial Arts since time immemorial. In fact, at the dawnof civilization, both were one. It has undoubtedly been inthe specialization of our societies, where this distinctionhas taken place as a result thereof.Some martial artists react negatively to this
relationship, but whether is true that securityprofessionals are increasingly nourished by theknowledge of Martial Arts, the fact remains that a kindof mutual interaction is taking place between bothactivities in the last decades. The experience of thosewho daily have to deal with criminal violence, gives thema perspective that those of us who are interested inself-defense just can't ignore.In this context of creative interaction must be
understood the article that we bring today to our pages.Before it was the sword, but who could ignore firearmstoday? To illustrate this point there is no-one better-placed than an experienced officer and at the same timea magnificent martial artist such as Omar M. Sesto. Bysharing both dimensions, he has managed to give us acomplete picture of a matter, that although it isprimarily intended for specialists, I understand it canfascinate anyone truly interested in self-defensescenarios with which, every day more often, any of uscould be confronted.
Alfredo Tucci
Reportage
Police Defense
"The best defense is a good offense." This statement is often very true in almost allareas of daily life: when practicing our favorite sport, controlling the direction of apersonal debate, facing a street fight ... or even surviving an armed confrontation.
While in the eye of the novice, the "material equipment" available at the time of theaggression may be seen as a basic, essential and vital factor to achieving our successor survival factor, actually the real determinant variable to this end is the "tactical mind"Stated in other words: our survival as Law enforcement professionals depends not onlyon how we have been prepared ourselves psychologically and technically to addressthe pressing reality that represents being the subject of a violent, savage and deadlycriminal attack, but fundamentally on how we have educated our "predatory instinct"through daily training, to activate a superior defensive response capacity, to the serviceof justice.
The "tactical mind" is a concept that includes all aspects related to the internalpredisposition of a warrior individual in order to:
• Identify any factors in his environment that might reveal an intention of aggression.• Assess rapidly the main features that are present.• Respond quickly and decisively, neutralizing in an immediate and forceful way the
focus of threat.
Police Defense
Reportage
It should be noted that these actions are the result or the physicalmanifestation of the skills acquired and developed by the professional. Thatis, no matter the degree of "natural talent" that you might have: without thecorrect dose of personal effort and a certain quality in the chosenprofessional instruction system or method, such attribute on its own will betotally inadequate in the moment of truth.
Wrong time to learn what works and what doesn't, in the real world!
About this new video
The attacks and aggressions that a police officer may face during hisshift usually are:
• Sudden,• Violent,• Unexpected,• Extremely dynamic.Therefore, as experience has repeatedly shown, only those officers, who
have previously prepared themselves for this kind of clashes, are those whooften find, thanks to their training, the tools that allow them survive thesesavage attacks.
Most of these professionals that have been involved in real action oftenemphasize how sudden, violent and different these confrontations turned outto be, compared to what they expected them to be. This kind of "surprise" isa very serious factor, if not fatal, for the victim-official.
Our tactical pistol training programs are based on updated statisticalreports of police incidents, in which officers have been forced by theseriousness of the circumstances, to use their service weapon in defense oftheir own lives or that of innocent third parties.
The Kokkar Group has thoroughly analyzed those cases in the last decadein which police officers got killed by firearms or cutting-stabbing weapons, inorder to determine without doubt the true circumstances and scenarios inwhich these officers lost their lives.
This line of new videos produced by Budo International is the end result ofthe compendium of these field experiences of many officers of the past andof the present, who in the line of duty, have often paid the price of thisknowledge with their own blood.
While most of the maneuvers and tactics outlined in this first volume, havebeen developed starting from the Standard pistol carrying (hip) and wearing ajacket, looking at the reality and operational needs of federal agents,undercover special agents, High Protection Service officers and policeofficers in civilian clothes, the possibility of extrapolating these actions andconcepts to the regular police work (uniformed), or the tactical interventionfield (S.W.A.T.), is full and natural.
The underlying operating concepts behind these tactics are of universalapplication and proven effectiveness in real situations of armedconfrontation.
The program is designed to quickly give officers the essential tacticalprinciples and operational skills needed to survive those real attacksstatistically more common in the C.Q.B. zones and to decisively neutralizethe most violent and combative criminals.
Police Defense
Additionally, in this audiovisual instructive material we have includedexamples of threat resolutions in scenarios of low visibility (low lightconditions) and defense against two armed opponents.
Because failing is not an option!
Professional survival in the real world
The most dangerous and difficult to survive attacks are those that occurat close range. And that inherent hazard to the extreme body closeness tothe attacker, or attackers, increases dramatically if the officer is totally offguard at the moment the attack occurs.
However, whether he is alert (S.W.A.T., for example) or not (patrolofficer, for example), the professional must prepare his mind to react as
Reportage
quickly and efficiently as possible, under the strainproduced by extreme levels of stress.
Carrying a weapon is no enough for a law enforcementofficer who puts his own life at risk every day. In fact, aweapon is of little use if he doesn't have the right mental,technical and physical preparation to respond properly inthese situations and get a better chance to survive.
At this point, it is essential to note that in this kind ofjob, there is no process that is the same as another.
There is no routine.Countless professionals have found their way to the
grave on assuming mistakenly that they were in a routineoperation "on a normal day". Their weapon could havesaved them, but their tactical mind failed them.
And one thing doesn't work without the other. They areuseless for the official that "carries" them... they arenothing. Both need each other. Both they complementeach other.
If your functions put you in the "first line of action" (thestreets, the jungle, the desert) within today's violentworld, the above mentioned attitude represent the onlydifference between living another day or dying today.
The type of training to be developed on a regularbasis, not only must refer to the different positions,techniques and methods of tactical shooting. To reallyoffer the "decisive advantage" it should include:
• Recognition tactics (anticipation to hostile action):this includes learning to decipher the human bodylanguage and acquire a basic mastery on psychologyand criminal behavior.
• Poor lighting conditions: one of the most commonscenarios of confrontation in the CQB zone.
• Combat shooting at very close range: wheneverpossible, with realistic targets simulating in detail thehuman face, hands, etc.
• Combat shooting against reactive targets: so as toget used to the level of physical demand and mentalstress that supposes the dynamics of an armedconfrontation, at the designated distances.
This level of demand is due to the fact that wheneveran outlaw kills an officer at the CQB distance, he doesn'tmanage to do so because he is an expert shooter, rather,it's because the closeness between them is so extreme(68% of the time, the average separation distance is onlyone arm) that it's physically impossible for the criminal tomiss his shot, cut or stabbing!
Distance and reaction speed
As we have seen, when the attack occurs at closerange, the advantage will always be for the aggressor,because of two main factors:
• Body proximity.• Reaction speed.The body closeness is a variable beyond our control,
since it has been determined by the aggressor, and it'sthe main source of lethal danger to the officer.
The other factor is the speed of reaction. Attacksin the C.Q.B. zone are par t icu lar ly dangerousbecause they hardly give the average operatormaterial time to evaluate the threat and the actualmagnitude thereof (lethal or non-lethal), so as to actaccordingly and proportionality (pyramid on the useof force).
Police Defense
A wrong assessment can be fatalfor both the officer and any civilianwho can be involved by chance inthe scene. Therefore, it is particularlyimportant to always train the "statusrecognition" at the polygon work,with paper targets representingconcrete, three-dimensional humanfigures that include both, theaggressor carrying weapons withdirect threat (hostile) and the normalcitizen (victim).
This action will develop quicklyand effectively a model of nervousand neuro-muscular response,absolutely transferable to the real
situation that a professional will facein the C.Q.B.
Instinctive shooting (Point Shooting) for poli-ce survival
Over time, the Instinctive Shootingsystem has repeatedly proved to bea real "survival key" for anyprofessional who has been forced todefend his own l ife confrontingarmed criminals in CQB distancesand scenarios
It's a combat shooting method of"natural" type, very fast, automatic
and accurate. It can be effectivelyused under all lighting conditions(normal or dimmed), so it is just asaccurate in both daytime and nightconfrontations.
Additionally, its general performingtechnique allows you firing multipleshots under dynamic actionmovements, with relative ease andhigh speed.
All these surprising detailshighlight even more when oneconsiders that its development and"reshaping" took place within themilitary world, in the extremely hardbattlefields of World War II.
Reportage
Police Defense
Currently, it's the main combatshooting training method ofcountless Special Forces, policedepartments and governmentagencies ( including the FBI)??worldwide.
The main reason that gives rise tothe different methods of instinctiveshooting is the timely and specificanalysis on what are universallyconsidered the two basic scenariosof CQB confrontation:
1) Scenario A / Pre-Determined:there exist specific circumstanceswhere an officer, previously toentering a CQB area, knows that thecontact with the enemy is imminent(special units officers, undercoveragents, etc.). Consequently, hismindset and physical training allowshim to previously draw his weaponand take "semi-pointing" fir ingpositions, before getting into the
"Hot Zone", thus being able torespond swiftly and effectively to acriminal who emerges out ofnowhere and suddenly shoots.
2) Scenario B / Surprising: at theother end of the equation, we havethe scenario where an officer, whilehe is walking down the street,issuing a traff ic t icket or whileproviding a school talk, suddenlyfinds himself faced with a hostile fire.There is no time allowance thatenables some form of preparation inorder to optimize the margins ofsurvival. In a split second, the officeris immersed in the Hot Zone,receiving shots... and with his gunstill in the holster.
The secret of the instinctiveshooting system effectiveness lies inthe fact that under the effects of thestress caused by a sudden andviolent attack (mainly of
unanticipated origin and thereforesurprising), in very short distances isphysiologically impossible to availourselves of "refined" motor skills todefend ourselves effectively.Therefore, the solution is to be foundin the development of natural andinstinctive DEFENSE METHODSBASED ON "RUDE" MOTORSKILLS.
In short, the concept so distinctiveof not using the pointing sights ofour personal weapon in CQBcombat zone, and gripping the gunmainly with only one hand, is basedon:
a. Direct field experience thatdemonstrates with solid convictionthat in these scenarios it’s very hardto find the time to do it.
b. The proximity of the aggressors,that virtually ensures the accuracy ofour shots.
Reportage
Police Defense
c. The fact that if an officer holds his gun with adouble grip (both hands) and he is surprised byany of his sides, in a hostile range comprisedbetween 200 ° and 180 °, his capacity ofdefensive reaction to these positions will be, atthe very least, severely compromised.
In all these cases, experience has shownrepeatedly that the best option a professionalcan have to survive, is the method of instinctiveshooting and with only one hand or at a singlegrip.
First phalanx on the trigger?Big mistake!
If you are accustomed to using the first joint ofyour index finger to press the trigger of your gun,you are taking a serious risk.
The disastrous consequences caused by thisbad habit are not readily apparent in the gentleand controlled target practice usually carried outhold the weapon with both hands; but theybecome immediately evident when the officershould respond quickly to a potentially lethalsituation, having to shoot usually with a simplehold or a hand.
Then it will be the worst time to confirm that hismarksmanship is at least questionable, if histraining has conditioned him to shoot using thepressure of the first joint of his finger on thetrigger.
He will see in this case that his shots tend tocluster towards the sides and the bottom of itstarget. Why? The answer lies in biomechanicsand structural design of human fingers when youpress or pull the trigger, the end of your fingerdoes not move directly back against the trigger,but moves in a curved arc.
That is because of the specific design of thefingers muscles and tendons, which are broughtinto play whenever they are flexed or extended.The central portion of a finger bends always firstand the middle knuckle is its "mother hinge".Consequently, the initial movement of the firstphalanx of any finger will always be an arc withan origin point located on the middle knuckle ofthe finger.
Only after the central portion of the finger isbent, the upper end (the first joint) can begin topress more directly backward against the trigger.
From the above, you can easily deduce thatthe best options at the time of positioning theindex finger and reduce the amount of "bow","curved angle", produced when it bends to pullthe trigger are:
• Place the fold between the first and secondphalanx of the finger on the trigger.
• Place the second phalanx on the trigger.Remember that we are facing here situations of
aggression developed in distances so close thatmost of the times we will not have the chance tomake a two-handed grip on our weapon andthen and correct any fai lure by improper
Police Defense
pressing. The severity of the situation is revealed when one looks from his ownexperience that in this type of aggression there are no additional time or "secondchances" to rectify any error.
Remember, when it comes to survival, FAILURE IS NOT AN OPTION!
TEN RULES TO SURVIVE A CONFRONTATION WITH FIREARMS
1. ALWAYS ensure that your personal weapon works properly.2. Never lose the state of "passive alert" on your immediate environment. The main
and most dangerous factor that you should avoid in these scenarios is that of beingtaken by surprise.
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3. In short distance attacks (from the hand-to-hand to12 meters - C.Q.B. Zone) use EXCLUSIVELY Instinctiveor Point Shooting systems. Under such circumstances,losing those vital fractions of a second trying to aim withyour gun to an aggressor who is already shooting you, oris about to do it, is the worst mistake you can evercommit.
4. If you adopt an Instinctive Shooting position in adynamical and correct way, your chances of survivalwill be statistically superior, even if your action is nottoo fast and you lack structural protection zonesaround you.
5. Once you’ve recognized the threat, maintain astate of high alert, even after the danger has been
Police Defense
neutralized. Always keep in mind the possibility of a second or thirdattacker nearby.
6. If you can choose, ALWAYS carry a secondary weapon for support or"back-up". Over time, this tool has proven to be literally a real life insuranceto thousands of police agents and security professionals worldwide.
7. Use ONLY NATURAL MOVEMENT TACTICS in your daily training, asopposed to specific shooting techniques. Remember that under the heat ofbattle, only the "rude" motor skills work. It's a proven fact in the daily realityof any professional.
8. In an armed confrontation in a C.Q.B. area, losing the firing capacity isalmost always equivalent to dying. Remember this postulate: if you mustrun, do it always shooting your assailant. If you must reload ammunition, doit ALWAYS before shooting the last cartridge of your weapon. In this way,your responsiveness will remain in full force at all times during theconfrontation.
9. In C.Q.B. combat, the closeness of the aggressor markedly increasesthe requirements of defensive reactive speed on the part of the victim tosurvive. Therefore, it is very important to ALWAYS remember these points:
• Faced with an aggressor located in the 0-3 meters area, don't raiseyour gun beyond the height of your hip. Trying a higher elevation meansa vital additional time consumption, with respect to a target that isalready attacking us in the lethal danger zone.
• Faced with an aggressor located in the 0-12 meters area, make atleast the first defensive shot with your gun, with a single grip. Trying tomake a double grip here is not a smart idea, nor a necessary action fortwo reasons:
a. The extreme proximity to the target ensures our accuracy.b. The extreme proximity to the target / victim, requires from us
avoiding unnecessary secondary movements, which jeopardize ourspeed of response and survival in these confrontation scenarios.
10. NEVER neglect the development of effective Hand-to-handCombat Tactics, Defense against knife and Personal Weapon retentionin your daily workout! Keep in mind the grim and hard reality thatinvolves the kind of confrontation that you are training to face andsurvive. C.Q.B. combat has buried thousands of professionals, whowere killed with their own personal weapons, or by strangulation,neck breaking, or a savage knife attack. Comprehensive andintensive training in these areas, will allow you face with certainguarantees the lethal danger inherent in these combat situations.
Police Defense
A tactical helmet looks very intimidating when you're on a tactical team,but in some police departments you'd be called names if you were a patrolofficer and you carried one around with you in your patrol, or worse yet,you might not even be allowed to carry one.
Police & military
Tactical Helmet: Usage & Defense
Self defense
hat is, until a shooting occurs wherecommon sense dictates that you needone. In the mid-morning of February 28,1997, Larry Phil l ips and EmilMatasareanu raked police with automatic
gunfire from assault rifles after a botched bankrobbery in North Hollywood, California. The eventshocked law enforcement throughout the UnitedStates. One of the memorable images of that horrificevent were Los Angeles Police Department patrolofficers, street cops, dawning their Kevlar helmetswhich they pulled from their standard issue "GoBags" (a sports bag filled with some essential gear
for such confrontations: extra ammunition, tacticallights, knee pads, etc.).
After this event many American policedepartments "saw the writing on the wall" andissued assault rifles to their patrol officers for greater“stopping power”. It made sense because it took300 police officers to stop two well-armed bankrobbers using self-taught mil itary tactics.Unfortunately, most departments failed to issueballistics helmets along with those more powerfulweapons. Then there were those police departmentsout there that didn't learn a thing from this event, oreven from the new threats of terrorism, and still
Police & military
T
Self defense
refused to issue their officers assault rifles because of "liability" concerns. Even ifthey don't trust their police officers with these more powerful weapons there is noreason not to issue life-saving helmets.
Even though most tactical officers wear helmets they just have not caught onlike ballistic vests have with patrol officers, traffic officers, and other “routine”duties, yet they all wear body armor. Why protect the heart, lungs, liver, and otherorgans in the chest and abdominal cavity and not the brain?
How many motorcycle police officers wear riding helmets? The answer is everysingle one of them. If the motorcycle goes down, or is hit, the head is protected. Ina worse case scenario an impact to the head will be at high speeds. Formotorcycle police officers helmets make sense. Still, there are countless policeofficers who will go into high risk situations with the possibility of taking asubsonic or supersonic bullet to the head and they don't wear any head protectionat all. It's foolish to go into these situations without a helmet. One might as get ridof the vest if that's the mentality.
I have trained thousands of police officers in firearms, tactics, and defensivetactics in the past 12 years: federal, state, local and military police. I am alwaysshocked when police officers don't have ballistics helmets. They show up with therest of their gear, but not the helmets. Do they not think that bullets fly that high orsomething? The problem is not based on ignorance. When one sees this kind ofblatant lack of officer safety there's usually politics lurking behind it. A lot of policeadministrators don't let their police officers wear ballistics helmets because it
Self defense
looks too "militaristic". Now, I’m not suggestingthat they wear them to every call, although thatwould be the safest thing to do, but at least toknown high-risk calls. These same administratorswho won’t issue their officers helmets are thesame administrators who will give the slain policeofficer a "militaristic" funeral: flag-draped casket,uniformed escort, a band, salutes, and the wholeworks. When the bullets are flying who caresabout how it looks, or how the public will perceivethis piece of equipment. The only concern thatany police supervisor should have is whether theirpeople are adequately protected or not. It can't bethe prices because helmets are relativelyinexpensive.
Another reason why many police officers are notissued ballistic helmets is because those incharge of training or equipment research over-emphasize the negative aspects of wearinghelmets: reduced peripheral vision, reducedhearing, and they are uncomfortable to wear. It'strue that these are drawbacks to this piece ofequipment, but they used to say the same thingabout ballistics vests.
The last excuse given by some administrators,and this applies to patrol police officers, for notwearing helmets is that it's not "traditional". Thissame reasoning held up for many years by manypolice departments when they did not want togive up their old revolvers and switch to semi-automatic pistols. Then the death of many officersmade them realize that they were out-gunned.Now many criminals themselves are wearingballistic helmets, along with a vest, to commitviolent crimes. Again, it’s the classic situation ofthe criminals trying to stay ahead of the police.
If you are a police officer and your policedepartment does not issue ballistics helmets, thatdoes not mean that you cannot have one on handin your own "Go Bag". Yes, they're a little bulky,but they don't really take up that much room.Store it in your bag for emergencies or for high-risk operations.
I realize that in many police departments someofficers may be ridiculed for wearing a helmet atan incident involving guns, or worse yet, deniedfrom wearing one altogether. Some of us couldalready picture in our minds what our fellowofficers would say. You show up to a high-risk carstop being the only one wearing a helmet andeveryone's calling you a “Rambo” or a supervisortells you to remove it. Yet, this is an issue thatshould not be ignored. If you're unable topersuade your police department to implementhelmets for high-risk situations, and you yourselfare denied wearing a ballistics helmet in high-risksituations, then I suggest getting it in writing as towhy. Then, if you get injured due to a head woundmake sure your family has a copy of that letter,because they will end up owning that city. Are the
Police & military
Self defense
bullets shot in Los Angeles lesslethal than where you work? Thenyour police department should makeballistics helmets a piece of standardissue equipment for all field policeofficers if they haven't already.
Plus, let's not forget that most badguys already know that we arewearing vests. So, what are theylearning to do in the criminal world?
That's right, take head shots. Withthat in mind, no pun intended, weshould all be crying out for helmetsto be worn at all high-risk situations.But, as usual, it will take severalmore deaths from head woundsbefore ballistic helmets becomefashionable.
Here are the main reasons forwearing a ballistics helmet:
1. Protection against handgunbullets, bullet fragmentationincluding rifle rounds, flash fire, bluntobjects, edged weapons.
2. It provides an intimidationfactor, protection against theelements, greater sense of security.
Let's move on. I'm now going totake you through some Reality-Based Police Defensive Tacticstechniques, using your helmet as atool, for those of you who wearthem.
Any criminal who has read a fewmil i tary manuals has obviouslycome across the hand-to-handcombat sections demonstratingstep-by-step how to break anenemy soldier's neck using theirown helmet against them. Thesesame techniques can be usedagainst you, the police officer, by acriminal or terrorist. Unfortunately,there are no books or videos outthere yet teaching countermeasuresto these deadly techniques. In thecourses that I teach to lawenforcement and military personnelnationwide, Entry Team Combativesand Jail & Prison Combatives, andwhere helmets are standard issuedequipment, I train my students to
recognize when these techniquesare about to be used against themand how to counter them. I wil lpass this information on to you.But, before I do, let me give you aword of caution. Anytime you aretraining techniques involving theneck GO SLOWLY ANDCAUTIOUSLY!
Front Grab & Strip Exercise
If the suspect has a hold of thefront of your helmet you have nomore than a second to loosen hisgrip or he could use your ownhelmet to snap your neck. Thisexercise teaches you to strip thesuspect's hands away from yourhelmet. It may seem like a simpleexercise, but if you don't practice it,i t won't be in your "musclememory".
1. A hostile subject lunges at thepolice officer’s helmet.
2. If the suspect grabs the policeofficer’s helmet before he has a chanceto block with his weapon the policeofficer must enact a transition from hisweapon to using defensive tactics toprotect his neck. Although this situationis a justification for lethal force, ashooting may not stop the subject fromtwisting your head in time.
3. The police officer immediatelygrabs the top of his helmet tostabilize it, tucks his chin into hischest, and drops his center ofgravity.
4. The police officer peels thesuspect's hands off with a forcefuldownward strike. Even if the suspecthas a good grip on the helmet thetucked chin will prevent the policeofficer’s head from moving.
5. Now is no time for a wrestlingmatch. Here is a subject who justgrabbed a hold of the police officer’shelmet in order to break his neck.The police officer must strike inorder to stop the subject fromfurther aggression.
6. The police officer will deploy hisfirearm to warn, or shoot, thesuspect depending on the subject’sfurther actions.
Rear Helmet PullDefense
1. A suspect grabbing the helmetfrom the rear is even more
dangerous to thepolice officer than thefrontal grab, and onlyquick reactionsthrough training willsave the policeofficer’s neck.
2. The suspect managesto grab the police officer’s helmet,and starts to pull back on it.
3. The police officer quickly grabsthe front of his own helmet tostabilize it, and rapidly leans forwardto break the suspect's grip. Leaningforward will also shift the suspect'scenter of gravity.
4. The police officer immediatelyturns into the suspect with an elbowstrike. This will strip the suspect'shands from the helmet.
5. Again, lethal force is justifiablein this situation, but first the policeofficer must prevent further attack bystriking the suspect.
6. The police officer will deploy hisfirearm to warn, or shoot, thesuspect depending on the suspect’sfurther actions.
Police & military
Self defense
KICKING IN MARTIAL ARTS, Part 3ABDOMINAL MUSCLES
The basic function of the abdominal muscles is such that without them we simplycouldn't walk upright. They are direct antagonists of the paravertebral muscles and actagainst lumbar lordosis. Well built-up abdominal muscles arouse admiration and ensuregood posture. They are also responsible for the movement of the trunk and pelvis andthus they help us breathe better. Regarding Martial Arts, abdominal muscles arefundamental for the balance, strength and beauty in the execution of leg techniques. So
we must train well all our abdominal muscles, not just the rectus abdominis, but alsothe external and internal oblique as well as the transverse abdominis.
Fu-Shih Kenpo
Hypopressive abs
Hypopressive abs are a new type of abdominalworkout that reduces waist size, improves the backposture, helps extend the vertebrae, slows down theaging process, and is good for women who haverecently given birth.
When you practice these exercises, abdominalpressure is reduced and protection and relocation ofthe internal organs are significantly improved.
One of the good things about doing hypopressive absis that we can practice them while sitting or standing.They must be done on an empty stomach, and theyshouldn't be considered a substitute for traditionalabdominal exercise; but a complementary workout.
The hypopressive abdominal method is actuallybased on the techniques developed in the 80s byDr. Marcel Caufriez that provides health benefitssuch as:
• Toning of abdominal muscles and reduction ofthe waist size (average reduction of 8%)
• Treatment and prevention of organ prolapse(uterus, bladder, and rectum)
• Postural correction and treatment of musculartension
• Treatment and prevention of herniation (inguinal,umbilical, disc)
• Reduction of pelvic congestion and increasingblood circulation in the pelvis area, thus bettersexual function
• Treatment and prevention of urinary incontinence• Recovery after childbirth• Increased of abdominal and pelvic floor muscle
tone (average increase of 58%)
• Activation of metabolism (average increase of15%)
• Improved athletic performanceBesides, hypopressive abdominal exercises are
also the basis for people who start doing physicalexercise in order to improve their aestheticappearance and their health, as well as sportsprofessionals.
This method is based in the hypopressiveabdominal gymnastics. When these exercises arebeing performed, pressure within the abdomendecreases significantly, unlike what happens with allother methods and abdominal routines.
The exercises used here are designed to create aproper progressive line that is useful for each of us.To carry out these exercises it's convenient to expelthe air and remain in apnea, that is, breath out anddo the exercises without air in the lungs, becausethis is the way to achieve a significant decrease inintra-abdominal pressure as well as the way toreduce more effectively the waist size, since thethoracic diaphragm is relaxed and in an elevatedposition.
It should be taken into account that doingexercises in apnea could be problematic for peoplewith hypertension.
Exercises to work out the lowerabdomen
The abdominal area that is located below thenavel is no doubt the most difficult to tone up andbuild, because the rectus abdominis, by its ownanatomy, always gets stronger in its upper portion.However, we can strengthen also the lowerabdomen.
The Raúl Gutiérrez column
Without any equipment and simply leaning on the floor,we can perform the following four exercises that facilitatethe work of the rectus abdominis, concentrating theeffort on the bottom part thereof.
From a supine position, i.e. face up, we can performfour exercises to work the lower portion of the rectusabdominis that we so desire to tone up.
A first exercise is to bring your legs extended upwardsuntil they are perpendicular to the trunk and from there,lower them slowly until they are parallel to the ground,without touching the floor or dropping completely yourlegs (you can do that 10 times, for example). Repeat thisexercise 3 to 6 times depending on your own capacity,but of course, at the beginning, you can do it once ortwice, especially those who still don't have developed aspecific abdominal strength. This exercise requires alarge abdominal contraction at all times and avoidarching your lower back during the whole movement.Gradually increase your repetitions if possible by 3s, thatis: 3, 6, 9, and so on.
A second exercise we can perform with our legsparallel to the ground but detached from it, is openingand closing our legs while we alternately cross one footover another. Also we start counting up to 30movements between both legs, increasing 3 every day ifpossible.
The third movement is similar to the second, but thistime, moving alternately and simultaneously our legs upand down. It can be performed at a lower speed for amore intense and controlled work. (12/15/18 times ...etc.)
Finally, we can do leg and pelvis lifts placing legsslightly bent at right angles to the trunk.
With these four exercises you can work the lowerabdomen at home, or wherever you might be, for a firmand strong abdomen, even in its most rebellious areas.
UPPER ABDOMINALS
Muscles known as the "six-pack" are the visible resultof a strong workout, especially the muscles concerning awell-defined rectus abdominis, although obliquemuscles, as the serratus (diagonal muscles finger-shaped, formed below the pectoral) and lower andtransverse abdominal muscles are also critical to have astrong and beautiful nucleus.
But really, is diet what helps abdominal muscles tolook like if they were always freshly pressed by a waffleiron and chiseled to the level of a statue of ancientGreece.
The surest way to add substance, definition anddensity to the rectus abdominis is ultimately a heavydose of hard and effective training for the upper abs.
Our list of the top 5 upper abdominal exercises is aconscientiously made selection. If we want that ourabdominal muscles look perfectly it is essential that weremove as much as possible the fat from our belly. With
a job well done, in 1-2 months, we can see good results.
Upper abdominal exercises - CrossFit abdominals.
The Raúl Gutiérrez column
CrossFit abdominals are an effective exercise to trainevery section of the rectus abdominis, including theupper abs. It is clear that the bigger the emphasis weput on the eccentric phase do, the greater thestimulation on the muscles of the upper abdominals.CrossFit is a type of training of functional exercises,constantly varied and performed at high intensity.CrossFit is an overall strength and fitness program,which is based on the increase of the ten physicalabilities most recognized by specialists in sports trainingwith weights. The exercise seeks to build strength andmuscle tone and increase the functionality of yourmuscles to later repeat the movements in different real-life situations.
• CrossFit is a training technique that chains intenselydifferent physical exercises, without time and withoutpause and in a continuous way. The principle of this typeof exercising is that of training the body by practicingdifferent disciplines at the same time, such asweightlifting, athletics, gymnastics and especiallyresistance. This program consists of endurance sportsand different physical activities.
• It’s based on the work of different skills and abilities:cardiovascular and respiratory endurance, muscularresistance, strength, flexibility, power, speed, agility,motor skills, balance, and accuracy. All these activities
intervene vigorously and help us getting in shape in aneffective way.
• Classic exercises focused on the trunk in general andto the abdomen in particularly, are being progressivelyreplaced by completely different exercises. The CrossFitmethod also applies movements destined to that part ofthe body, focused from a functional mode. Perhaps thebetter known are the so-called CrossFit abdominals.Although variations are minimal, the work differs from theclassical crunch and it requires a proper technicalknowledge to avoid major injuries. You might bewondering what advantages do sit-ups offer in front ofclassic exercises. The main thing is that you replaceintensity by functionality without overly changing theinvolved muscles (rectus abdominis, psoas, oblique,tensor fasciae latae...)
• Starting position for the SIT UPS.• We lay on a mat or on the surface wherever we are.
We put a towel in the lumbar area so as to maintain itsnatural curvature. We bend our knees bring together thesoles of the feet, leaving our knees in external rotation.There are two options for placing the arms, dependingon our level of fitness. Those who are new to thismovement should extend the arms forward and betweenthe legs. For more advanced ones, the work will increaseby placing the arms extended backwards to increase thelever arm.
• Concentric movement• Two remarks about the movement. The first is that it
must be completely controlled, no sudden or quickmovements, because all that will aggravate the risk ofinjury. The second has to do with coordination since thewhole movement must be coordinated, elevatingsimultaneously the trunk and the arms, until our back isupright and we can touch our feet with our hands.
• Eccentric Movement
Fu-Shih Kenpo
• When you have reached the position above, hold it for about 2 or 3seconds. Then it's time to go down again. The only thing you shouldpay attention to in this movement is the body control so that you godown with adequate speed. The longer this phase the deeper yourworkout.
Upper abdominal exercises - Crunch with bent legs
Crunch with bent legs is an exercise for the upper abs that should beincluded in any table we design, if we are really seeking to workthoroughly this section. Working out 3 or 4 sets of 10-20-30 repetitionswill permit us to congest and stimulate abdominal definition.
Upper abdominal exercises - Abdominals in V
V abdominals are a risky but necessary bet if we want to see quickresults. It's a type of exercise that is not intended for all sports fanssince it requires a relatively high physical training. But all those whocan do it, surely should include it in their workout routines.
Upper abdominal exercises - Abs feet to the bar
The abdominals feet to the bar are a typical movement of functionaltraining methodologies. It nevertheless remains the fact that this typeof exercise is very effective in helping to form a tremendous "six pack".
This is better explained by an example: those who practicecalisthenics in the parks, as a rule, tend to have a sculpted stomachand well defined without the need of using neither machines nor bars.
Upper abdominal exercises - Crunch with pulley
Crunch with pulley contrasts with the previous exercise, since itrequires the use of a pulley of the classic kind that is usually found insports centers or gyms. We have decided to include it because it isone of the best exercises to define and work out upper abdominals.
High pulley crunch: To perform successfully the high pulley crunch,you have to kneel down under a pulley that has a rope properly hookedto it. Holding the rope with both hands, pull it down until your handsare next to your face.
Slightly flexing your hips, let the weight of the hyperextension lowersyour back. This will be your starting position. Without moving your hip,bend your waist as you contract the abdominal muscles so that yourelbows shift towards the center of the thighs.
Exhale as you make this part of the movement and maintain thiscontraction for a second, to improve congestion. Slowly return to thestarting position as you inhale.
You must ensure that you maintain a constant tension in theabdomen through the movement you are performing. Also, try to notchoosing a weight excessively heavy so that your lumbar musclesdon't end up being the ones that are making the most of the work.
The Raúl Gutiérrez column
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.: • DVD/YANTI-1REF.: • DVD/YANTI-1
Master Shaolin Shi Yanti is a monk of the 34thgeneration of the Songshan Shaolin Temple and adirect disciple of Venerable Abbot Shi Yong Xin. Inthis his first work for Budo International, he presentsthe Luohan Shibashou, one of the older and most
representative basic forms of empty handof the Shaolin Temple. According to the
book "Shaolin Quan Pu", in the SuiDynasty, the Shaolin's warriormonks developed a series ofsimple movements, chosenaccording to the "18 Luohanstatues", hence the nameLuohan Shou Shi Ba (18hands of Luohan). Thestyle of this Taolu isparticular and in itscontinuous movementscan be clearly seencombinations of real andunreal movements,defense andcounterattack, and avariety of hiddenmovements. The main hand
techniques in this Taolu arethose of the palms, and
learning requires great agility andcoordination, as well as mastering
the positions Xubu, Dingbu, Gongbuand Mabu and their features.
Budo international.comORDERS:
Combat Hapkido
DIPLOMACY & ALLIANCES
Watch the news on TV on anygiven day and you will learn aboutnations forming coalitions andalliances to assist each other in
difficult or dangerous situations.You wil l also see unending
diplomatic efforts to negotiatetreaties, handle crises andfacilitate trade. And, if you
are a keen observer ofinternational affairs, you will
also see betrayed al l iances,cheating on treaties, brokenaccords and arrogant displays
of hypocrisy, disinformation,failed strategies and ruthless
power-plays.Well….that's politics. Intrigueand duplicity have always been
part of human history and,unless our species suddenly
achieves universal spiritualenlightment, it will neverchange. However, it isnot always a big wasteof t ime. Sometimesalliances, accords andhonest diplomacyactually work,resulting in peace,
i n c r e a s e dprosperity andsecurity for the
parties involved
GM John Pellegrini
By Grandmaster John Pellegrini
Having been a student of history and internationalaffairs for most of my life, it should not be a surprisethat I have often tried to apply some of the
constructive principles of diplomacy to mymartial arts endeavors. Specifically, I sawbeneficial opportunities in the form of“alliances” between Leaders of differentarts and styles. While most saw onlyrivalry, competition, ego and, all toooften, insecurity, I entertained a vision ofcooperation, fr iendship, growth and
mutually beneficial exchange. And in theprocess, although it was never my intent, I
became a recognized “pioneer” of martial artsalliances having created several successfulones (and a few that, sadly, did not work-out).But before I give you the details of whatexactly was accomplished, let's take a lookat what it take to envision and form suchan alliance. First, I was motivated byseveral honest realizations:
1. No martial art has absolutelyeverything for everyone.
2. Today students are interested incross-training.
3. Cooperation between leaders ofmartial arts organizations providesthe students with additionalresources and opportunities.
4. Grandmasters of different artsworking together project a positive,honorable image that reflectswisdom, confidence and respect.
I realized early on that it would notbe productive to form alliances withother Grandmasters of the same art(Hapkido). The underlying issues of ego,financial interest, students' loyalty,personal style, seniority etc... would be toohard to overcome. Alliance with a differentstyle of the same art would also besomewhat redundant, useless and evenconfusing for to the students. Cordial and
GM John Pellegrini
Combat Hapkido
respectful “diplomatic relations” with thoseGrandmasters would be enough. True all iances need to bring fresh,
interesting opportunities and a touch ofexcitement to both parties and that's why Idecided to expose our students to arts andsystems very different from CombatHapkido. I wanted to complement andenrich our training, not change it or turn itinto something else.Because of the risks involved and the
potential pitfalls, I had to choose carefully toprotect our students and, ultimately, ourreputation and fortunately, for the most part,our efforts have been successful. Over thelast 20 years, I have been able to formseveral productive and prestigious allianceswith some of the finest martial arts leaderson the planet. And, at this point, I would liketo mention a few of them:
The late Grandmaster Remy Presas,Founder of Modern Arnis.Grandmaster George Dil lman, World
authority on Pressure Points.Grandmaster Bill “Superfoot” Wallace, the
greatest kicker of all time.Grandmaster Mark Shuey, Sr., World
leading expert on the Cane.Master Carlson Gracie, Jr., one of the best
BJJ fighters anywhere.Over the years, they and several other
famous martial arts pioneers I have beenfortunate to befriend, have all directly orindirectly contributed to my philosophicaland technical growth and that of my art,Combat Hapkido. And because thoseall iances have been so productive, Icontinue to search to forge new ones.In fact, just a few months ago, my wife
Trina and I spent four days in Las Vegas as
GM John Pellegrini
“True alliances need to bring fresh,interesting opportunities and a touch of
excitement to both parties and that's why Idecided to expose our students to arts and
systems very different from CombatHapkido”
“Over the last 20 years, I have been ableto form several productive and prestigious
alliances with some of the finest martialarts leaders on the planet.”
guests at an exciting event hosted by martial arts legendand movie star Jeff Speakman. Grandmaster Speakman,(who has recently fought and won a battle with cancer) iscarrying on the tradition of his teacher, the late Ed Parker,the founder of American Kenpo, with his very successfulinternational organization.Although Jeff and I had known each other for over 15
years, we had never cooperated on any projects. But thatis about to change as we have agreed to launch a newalliance to benefit our students, support each other'sevents, and exchange expertise in certain areas. Onceagain, true martial arts spirit, humility, respect and honesty
triumph over greed, jealousy, distrust and arrogant ego.We hope that other martial arts leaders around the Worldfollow our example and begin a new era of friendship andcooperation in our industry.And in that vein, I look forward to joining the many great
Masters, Grandmasters and experts who will attend theBUDO Hall of Fame gathering in Rome, Italy on April 16,2016, making new friends and seeing some old ones (andwhat an opportunity for some diplomacy and potentialalliances!) I encourage all of our members to attend and bepart of this exciting and historical martial arts event. I hope too see you there.
Combat Hapkido
GM John Pellegrini
“I look forward to joining the many greatMasters, Grandmasters and experts who
will attend the BUDO Hall of Fame gatheringin Rome, Italy on April 16, 2016, making
new friends and seeing some old ones (andwhat an opportunity for some diplomacy and
potential alliances!) I encourage all of ourmembers to attend and be part of this
exciting and historical martial arts event.”
