The Pukulan Pencak Silat Serak is a system based on

both weapons and empty hands at the same time. It

incorporates many of the new-generation weapons,
swords, knives, circular kerambits, bars, batons of
different lengths and other more particular
weapons. Even in our empty hand
training methods we face an
opponent who attacks us with
weapons in both hands, as
well as several opponents at
once. This type of training
makes us more aware of
everything that happens
during an altercation
and what do and not do
when facing one or
more armed
aggressors. In this
second DVD, Maha
Guru Horacio
Rodrigues, heir to the
lineage of Pendekar Pak
Victor De Thouars, of
Pukulan Pencak Silat Serak,
addresses its particular way
to train and use the different
weapons, laying the foundations
for more advanced future plans of
study and the application of technique.
This video includes the principles of work,
angulation, Sambuts, Jurus and drills with the short
sword "Pedang", short knife "Pissau", short stick
"Tonkat Matjan", Sarong, and applications of self-
defense with empty hands.

REF.: DVD/SERAK-2

All DVDs, wichi is produced by Budo International,

si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
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 Last December 24 it was
released in Asia "Ip Man 3";
a f e w d a y s l a t e r, i n
January, it arrived in US
theaters on a limited basis.
Again, and like the
preceding installments, the
film was directed by Wilson
Yip Wai-Shun and starred
by Donnie Yen. Production
has been sheltered by an
excellent cast of actors and
stuntmen, including most
notably Mike Tyson, who
broke a finger during
filming; Danny Chan, who
plays Bruce Lee, a role that
is familiar because he qW=m=`=C=j~=`~~~=oK
embodied the king of mW==_~==h=h
Martial Arts in the series
"The Legend of Bruce Lee"
(2008) and he also
mimicked him in "Shaolin
Soccer"; Liang Chia-Jen,
well known to Hong Kong
movie lovers with 139 films
in his filmography; Kent
Cheng with 132 films and
Max Zheng ("The
Grandmaster"), among
others. The choreography
has been done by the
possibly best
choreographer of Hong
Kong, Yuen Woo-ping, who
r ocketed Jackie Chan to
fame with "Snake in the
Eagle's Shadow" and
"Drunken Master in the Eye
of the Tiger", and
recognized worldwide for
his work in the saga of
"Matrix" and "Cr ouching
Tiger, Hidden Dragon".
Given the attention that
the film is awakening
everywhere, and the
interest itself of
Grandmaster Ip Man's life
story, Budo International
brings you this month a
biographical article on this
extraordinary Sifu.
Under his unmistakable
look of amiable old man,
always smiling, tall, thin
and bald, hides an
extraordinary man whose
legendar y biography has
enshrined him as one of the
"immortals" of the Martial
Ar ts. Most people know
him as "the master of
Bruce Lee", but Yip Man
was much more than that.
He was an exceptional
martial artist, master of
masters and, indisputably,
the diffuser of Wing Chun
at a global level.

he figure of Yip Man (Ye Wen

T
Ip Man &) is unquestionable.
The master wouldn't enjoy
the international projection
that currently has if not for
the fact that he was Bruce
Lee's master and mentor.
Great Masters
 Great Masters

Despite what has been written and

disseminated, Bruce Lee was just
"one more student's" of Yip Man. The
Little Dragon never got to have a high
level within the style. When Bruce Lee
set off for America, within the school
there were many students far more
advanced than him. In addition, and
contrary to what has been reported,
he hardly had any contact or trained
with Yip Man. Sifu was very
traditionalist and he taught according
to the Chinese customs. As the school
"Patriarch", he only trained directly
with the most advanced students (the
"Big Brothers"), who, in turn, taught
other students. This makes clear that
Bruce had learned most of his Wing
Chun from the hand of other pupils,
such as William Cheung or Wong
Shun Leung. Contact between Bruce
Lee and Yip Man was therefore
ephemeral and very sporadic.
Yip Mans life, however, has the
necessary ingredients to become a
legend in its own right; but before
getting into the story of his troubled
experiences, it would be convenient
knowing some historical background
relating his art and his masters.
Legend has it that Wing Chun was
created back in the Fourteenth
Century by a Buddhist nun named Ng
Mui, who devised such a peculiar
combat system after observing the
fight of a crane with a fox. The art was
passed down throughout centuries in
secret, as tradition demanded. In the
early Nineteenth Century, the 5
Guardian of the Style was Leung Jee,
an herbalist fond of Martial Arts. He
lived in Fatshan, a town in the
province of Kawantung, in southern
China. Across the province this
peaceful herbalist was known for his
unusual combat effectiveness. Those
who dared challenge him (who were
quite a few) came out invariably
defeated by his devilish way of moving
and by his favorite technique, the Iron
Palm. Leung Jee was actually very
peaceful, but as his reputation grew
fighters who challenged him to
discover his secrets multiplied.
Chan Wah Sun, another outstanding
master and fighter back then, fervently
wished to learn under the tutelage of
Leung Jee; but the latter, faithful to the
traditional hermeticism of Martial Arts
at the time, refused to share his
knowledge with Wah. Leung was
reserving his most precious teachings
for his son, Leung Bik, who was
destined to become the 6 Guardian
of the Style. When he reached a
certain advanced age, he decided to
teach Bik his art in private. Every night
the two met in the herbal store to
train. Chan Wah Sun, decided to move
his money exchange office (that was
the way he earned his living), to a site
 Great Masters

adjacent to Leung's herbal store, so

that he could spy on the master and In 1968, Yip Man,
learn his secrets. In this way, night
after night Wah, hidden in the
with 70 years of
darkness, Chan assimilated gradually
all the teachings of Leung. But the
age, underwent
teacher, who although old man had
lost none of his lucidity, soon realize
surgery for
the presence of inopportune
spectator; however he pretended not
stomach cancer,
to have discovered him and began to
teach all concepts and movements
after which he
erroneously to confuse Wah. Then,
during the day, and while Wah was at
announced his
work, Leung Jee devoted to rectify his retirement from
teachings to his son so that he
learned the true Wing Chun. So Wah teaching.
studied a totally adulterated version,
with scarce displacements and full of This decision was a
misconceptions
Nevertheless Chan Wah Sun, being hard blow to the
a very shrewd person and particularly
gifted for the fight, was progressing in Wing Chun
fits and starts, modifying what he
learned and adapting it to the reality community as
of combat. The result is that he didn't
learned genuine Wing Chun, but he Yip Man had
modified all the absurdities that Leung
Jee was "teaching" him, to the point retired without
of making them really effective in
combat. The proof is that, after the having taught all
death of Leung Jee, Wah challenged
Leung Bik to bet the Guardian the secrets of
succession of the Style in a duel, and
he won the battle. Wah was
his art.
convinced that he had won thanks to
the Wing Chun techniques learned in
secret, when in fact he won despite
them. Leung Bik was certainly still
very inexperienced to successfully
face a fighter forged in a thousand
battles, like Chan Wah Sun. Bik, with
the his honor trampled underfoot, and
his soul mortified, disappeared from
the region and Wah became the new
head of the Wing Chun style, an art
that he didn't really know! He also
continued investigating other Martial
Arts on his own.
Wah's victory and his new status
as Guardian of the Style, conferred
upon him such a reputation that he
could finally open a Martial Arts
school and say good bye to the
money exchange trade he hated so
much. He buried the nickname,
"Wah, the forex trader", and started
to be known as the "wood man",
following an exhibition he made in
which he destroyed with his fists a
solid wooden training dummy.
However, the "business" of Martial
Arts was not yet too lucrative in those
days, because only small groups of
disciples were instructed. Therefore,
Chan Wah Sun sought the protection
of a "Maecenas" who yielded him a
part of his house for free to open his
school. It was precisely the Yip
family, one of the wealthiest families
of Fatshan city, which hosted him at
their mansion. The patriarch of the
Yip clan, Yip Oi Do, decided to
accommodate such renowned martial
artist to ensure the protection of his
home and his properties.
Among the children of the Yip
family, there was a delicate and sickly
young boy named Yip Man, who was
born on October 14, 1893. From a
very young age, he received the
traditional education that was
reserved to the offspring of the
Chinese haute bourgeoisie: study of
the philosophy, literature and classic
poetry, both Chinese and Western, as
well as certain noble arts like
calligraphy and painting. Yip Man's
destiny seemed to be mapped out
from the start: do Business Studies
and then participate in the family
affaires. Nevertheless, they didn't bear
in mind that their squalid son had a
will of his own, and a very strong one,
in addition. Since childhood, as soon
as he had the slightest chance, he
slipped out from his tutors' watch to
go to see how the disciples of his
father's protg were training Wing
Chun; this was something that
seemed to fascinate him.
At the age of nine, he finally
decided to go to talk to old master
Wah (which already was 60 years old)
and ask him to be accepted into his
classes. Wah didn't take the proposal
too seriously: he was just a kid -
thought the master -, besides he was
of noble birth, so most probably he'd
be whimsical and inconstant. The
situation was not simple. On the one
hand, Wah wouldn't have had any
objection to accept him if he were not
facing serious problems because of
space with the 16 disciples he
already had. On the other hand, he
couldn't reject Yip Man so lightly,
because he was one of the sons of
his "protector", of the person that
was hosting him. To get out of the
problem, Wah decided to accept Yip
Man with one condition: in exchange
for three hundred silver coins. This
represented a very large sum, so the
master assumed that Yip Man, with
just nine years of age, would not be
able to gather that sum in years. Wah
believed to have solved the dilemma
when the very next day Yip Man
came with the demanded sum. He
had spent years saving every
allowance that his parents had given
him. The old master had no choice
but to admit him as a student, but he
didn't accept the money, of course.
As for Yip Man's father, he was not
too keen on seeing his son get started
in Wing Chun. The future that he had
reserved for him was very different;
besides, Martial Arts were not well
looked upon among the Chinese
bourgeois classes ever since the
Great Masters
 Great Masters
Boxer Rebellion. But Yip Oi Do made the same mistake
as Chan Wah Sun; he took it as a sudden whim of Yip
Man, convinced that his son would abandon his martial
pretensions as soon as he started suffering the harsh
training in his own flesh. On the other hand, he also
considered the tremendous physical benefits that
Martial Arts could bring to his feeble child.
In this way, and with the skepticism of those around
him, Yip Man was introduced in the Wing Chun world
with just nine years of age. If anything characterized the
young Yip Man was his extraordinary will and
determination.
Wah, who hadn't taken him too seriously from the
start, imposed an extremely rigorous training discipline
on the bourgeois youngster in order to discourage him.
But the harder the training, the more he devoted to it.
After some grueling months of test, the master, amazed
by the exceptional determination of his youngest pupil,
decided to accept him as the baby of the Wing Chun
family. Over the years, Yip Man earned the respect of
his Master and "Big Brothers" to such an extent that
Wah came to seriously consider whether to train him so
that he could become his future successor.
In 1911, Master Chan Wah Sun died suddenly. Yip
Man was only 13 years old and he had been practicing
Wing Chun for four years. He continued to train for
three more years under the tutelage of the advanced
students of the school, or "Big Brothers".
When he turned 16, his father sent him as boarder at
St. Stephen College, a Catholic institution in Hong
Kong, to learn English and add the Western knowledge
to his education. There, the hard institutional living and
competitiveness of his peers forged an iron character in
Yip Man and let him put for the first time to test their
martial skills in numerous fights among students. His
effectiveness in combat reached such heights that he
soon ran out of opponents, neither in the school nor in
the neighborhood
However, the impulsive Yip Man was constantly
seeking clashes in order to improve his martial
effectiveness. One of his friends told him about an
eccentric Gung Fu practitioner who worked in a silk
factory in the port and was reputed to be invincible in
combat. One evening Yip Man went to the port in
search of the fishing boat where they had told him that
lived and slept the renowned fighter.
When he finally found it, he
challenged him loudly from the pier. He
didn't get any reply, so, outraged, threw
a stone against the boat. Then a deep
voice quietly asked him what was he
looking for. Yip Man responded curtly
and defiantly: "They say you're
invincible in combat. I'd like to fight
with you..." A man who was about fifty
peered over board, looked at Man up
and down and said: "You are too young
and skinny. I don't want to waste my
time, but I'll give it a try. Execute a Tao
(a Gung Fu form or kata) and let's see if
you are worth it." Yip Man was not
intimidated by the fighter's arrogant
disdain and executed the Sil Lum Tao
form of Wing Chun, with agility and
force. "All right - said the challenged
with a smile - I'll give you a try, but the
fight will be on my boat ..." Yip Man
boarded the fishing boat and both
contenders got on guard. Suddenly,
Man pounced on his opponent like an
exhalation throwing a brilliant
succession of punches. However, the man blocked all
his punches with astonishing naturalness and sent the
youngster to the water. Man swam back to the boat,
climbed over the board and again attacked his
opponent with redoubled fury, but he nullified all his
attacks with a devilish ease and again Man was tossed
overboard into the cold waters of the port.
Yip Man finally realized that he was in front of an
exceptional master of Gung Fu so, soaked to the
skin, he asked him humbly to be accepted as his
student. The man, without answering a word, turned
his back and began to prepare dinner. Thereafter,
Yip Man started to go every night to the master's
boat with offerings and presents, he even used to
wash his clothes and cook dinner for him; despite
all that, the man hardly addressed a single word
toward him.
But after over two months, and at the respectful
insistence of young Yip Man, the master finally opened
his mouth to ask, "Who taught you Martial Arts?" -
"Master Chan Wah Sun, of the Wing Chun style." Given
the response, the master's gentle features betrayed an
intense emotion that Yip Man was unable to interpret.
The enigmatic fighter remained staring at the horizon
for a long time and when he turned around he looked
Yip Man directly in the eyes and said. "Okay, I'll show
you my art. I'll teach the true art of Wing Chun." Yip
Man was stunned: what did that mean? He thought
that there was only one Wing Chun style, which he had
learned directly from the hand of the Keeper of the
School.
Seeing the astonished expression of the young, the
master continued: "My name is Leung Bik and I am the
son of the one who taught your master. Besides, I am
the 6 Guardian of the Style and the only practitioner
of true Wing Chun still alive." Bik explained to Yip Man
why and how his father had deceived Wah, who never
learned the original Wing Chun.
Up to that moment, what Yip Man had practiced was
just a peculiar amalgam of Wing Chun totally
adulterated and mixed with many other Martial Arts in
which Chan Wah Sun had been investigating
throughout his hectic existence. Although such a hybrid
was certainly effective in combat, it was not the original
Wing Chun: this had only survived in the person of
 Great Masters

Leung Bik, who had never taught anyone nor had had
any intention ever of doing it. In this sense, we can say In 1955 there were
that true Wing Chun would had been lost forever after
the death of Leung Bik had it not been because, as
already about 30
luck and good fortune would have it, coincidentally, a
stubborn young man called Yip Man got in the way of
students, although most
Bik and he became the depositary of this extraordinary
Martial Art.
of them stopped
Yip Man thus became the disciple of Bik and learned
the genuine Wing Chun in full, i.e., with secret
attending classes when
techniques included. Leung Bik died a few years later,
but that time was enough so that Yip Man, with
Yip Man moved the
determination and dedication, could learn everything
his Sifu knew. Yip Man returned to Fatshan, his
Kwoon (dojo) to Lee Tat
hometown where, as the official successor to the Street, in Kowloon.
original Wing Chun began teaching at 4 or 5 students in
the early 40s. He didn't stalled however in his study of It was in the fifties when they began to excel in the
Martial Arts, but he continued to exchange techniques school of Yip Man a series of extraordinary martial
and knowledge with their former fellow practitioners, artists. Names like Tsui Sheung Tin, Ho Kam Ming or
students of Chan Wah Sun. Wong Shun Leung are already inscribed in golden
He still was a young man, so he didn't like the rigid letters in the history of Wing Chun and Martial Arts.
hierarchy that characterized the Gung Fu schools of the They were formed under the tutelage of the "smiling
time. From the outset, he established as a general rule Sifu". The best known of these, Wong Shun Leung, first
authentic friendly relations with his students. He didn't came to Man's school one afternoon in 1954 asking for
want them to call him "Patriarch"; he preferred the a demonstration of the effectiveness of Wing Chun
nickname "Man-Sok", i.e., "Uncle Man". Over the against boxing, discipline in which he was an expert at
years, however, Yip Man would become much more the time. The test was so convincing that from that day
rigid and traditionalist, and gradually implanted at his he got fully integrated into the Yip man "family". Shortly
school the typical hierarchical scheme Patriarch-Big after he became one of the most outstanding students
Brothers-Beginners. But in the 40's he established of the school, and he was known by practitioners of
another rule that, unlike the first, he never would break other styles of Gung Fu as "Quarrels", because any
until the end of his days: he never charged for his excuse was a reason good enough to challenge almost
classes, he taught for pleasure and did not want that all relevant martial artists in Hong Kong. In fact, the
monetary matters would muddy his school. fame that the Wing Chun stylists soon acquired in
At that time he began working, for pure pleasure, as general was that of being genuine "rude boys", rough
chief of the Fatshan police station. His fame started to and quarrelsome people that kept challenging everyone
precede him, everyone knew his uncanny ability to and fighting to test and refine their skills and publicize
reduce and arrest "outlaws". His exploits became the style and the school.
famous in the region. These include, having reduced on In 1955 there were already about 30 students,
his own a band of eight dangerous criminals. Also, he although most of them stopped attending classes when
faced many Gung Fu experts, many of which were real Yip Man moved the Kwoon (dojo) to Lee Tat Street, in
"troublemakers". Kowloon. The new site was placed in the heart of the
When in 1949, the Chinese People's Revolution Hong Kong slums and Yip Man was compelled to deny
succeeded, Yip Man fled to Macao; but he didn't get to access to many applicants, somewhat disturbing and
take "roots" in this place. After a short time, he moved suspicious; but he also hosted some gems from the likes
to Hong Kong, where he settled for the
rest of his life. Upon arrival to the
British colony, Lee Man, who was
secretary of the union of restaurant
workers, allowed him to use the
facilities to implant his teaching. In this
place, Yip Man began to train his first
group of students. His teachings
started in July 1950. He quickly
became the leading exponent of Wing
Chun in Hong Kong, ear ning a
reputation for extraordinary teacher,
although somewhat eccentric. The
latter was due to the fact that he didn't
do any publicity for his school (and, in
spite of this, it was very well known),
he didn't charge for his classes and he
never accepted students easily (it is
said that when someone wanted to
enter his school, Yip Man used to
investigate the candidate for months
before accept him definitely). If, for
whatever reason, he decided to reject
an applicant or expel a student,
nothing could make him change his
mind.
 Great Masters

of William Cheung or Bruce Lee. These were two real

slum-dweller hooligans; however, they showed much
more passion and enthusiasm that many veterans.
Bruce, who at that time was a totally irreverent and
indomitable cocky lad, showed nevertheless a
tremendous respect for Yip Man. As Jesse Glover,
Bruce Lee's first student recalls: "Bruce always
talked about Yip Man with great respect and I think
he was very proud of being one of his students. I
remember he used to say that Yip Man, although he
didn't weigh even 50 kilos, had a strike power far
bigger than any of his students, superior even to that
of William Cheung, who measured almost 5'9 and
weighed more than 176 lb. He also said that Yip
Man, at 65 years of age, still had such a skill that no
one could touch him in combat.
Shortly after starting the classes, Bruce heard a
story according to which Yip Man would have
recently killed another Gun Fu master of only one
blow, because he had refused to leave the school
after insulting the Wing Chun and the Sifu himself.
Bruce Lee believed in the authenticity of the story
because he knew the extraordinary effectiveness of
his teacher. The Little Dragon was a promising
figure in the school, but he left prematurely to
immigrate to the United States.
During the first years of his "American adventure",
Bruce kept a periodical correspondence with Yip
Man, commenting his progress and explaining to
him that he was teaching Wing Chun to several
American students. Actually, he asked him to
accept within the family of Wing Chun his most
advanced student, the African American Jesse
Glover. It seems that Yip Man got very angry a lot
because at that time, he thought that Wing Chun
should be taught only to Chinese race people; it Legend has it that Wing Chun was
was like having an advantage over the West. But in
1965, he radically changed his mind admitting created back in the Fourteenth
publicly that Wing Chun should be taught
regardless of race or nationality. Century by a Buddhist nun named
In 1968, Yip Man, with 70 years of age,
underwent surgery for stomach cancer, after which Ng Mui, who devised such a
he announced his retirement from teaching. This
decision was a hard blow to the Wing Chun peculiar combat system after
community as Yip Man had retired without having
taught all the secrets of his art. For observing the fight of a crane with
this reason one of his students named
Kwok Keung went to see him while he a fox.
still was recovering from the
operation, to convince him to teach in
"closed-door sessions" to a very
promising student of his named
Leung Ting.
Unexpectedly, Man accepted and,
bypassing all the hierarchy rules
(many Big Brothers or even his own
children should have been a priority in
the succession), he taught to young
Leung Ting the Wing Chun that only
he knew in its entirety. Yip Man died
on December 1, 1972, at the age of
79 years. Leung Ting became the
leading exponent of Wing Chun and
the successor of the "Smiling Sifu".
Currently, Wing Chun is one of the
most practiced Martial Arts worldwide
and Yip man has become in his own
right, one of the most emblematic
Martial Arts masters, to the point that
his life has been brought to the big
screen.
 The traditional and the representative!

"The point about education is the knowledge, but not of the facts,
but of the values."
(Dean William R. Inge)

It would be foolish wanting to equate the needs that stimulated the Martial Arts of
the Sengoku period to an evolution and growth of their forms, with the real needs of
our days. Common sense, that suggests a historical view of the parts that always
exemplify through the "Kata" or previously established forms, possesses a special
search; however, in modern times, it's possible - and that depends on each one - that
the superficial view could highlight some lack of knowledge of those who establish a
comparison in a naked and raw way.

T
he world today is full of
innovative ideas, systems,
forms, examples that in
ancient times would have
made a difference in the
battlefields. Then, the very idea of
time, tradition, conservation, etc.,
refers us to the idea of "art". Such a
concept can only be measured by the
mind that contemplates, the mind that
feels itself called by the images that
are transmitted to it... Getting lost in
comparisons is the same as going to
see a play by Shakespeare and
compare it with the film Matrix!
Nevertheless, the conflict is normal
for those who are accustomed to a
simple and moder n vision of the
Martial Arts in general. The conflict
supposes, without any doubt,
contradiction: contradiction in the
feeling, in the thought and in the
behavior. There is contradiction when
we want to do something and we are
forced to do the opposite.
For most of us, where there is
admiration there are also jealousy and
hatred; and that's contradiction as
well. In the addiction there is anguish
and pain, hence, contradiction,
Bugei
conflict. The observation, beyond the possibilities of yes and no, of truth and
falsehood, is no doubt a sound way to get to the bottom of things.
We could say that, within the habitual etiquette, position is paramount: back straight,
chin up... but common sense is the best way to avoid commit exaggerations. It's quite
unpleasant that someone who attends an exhibition tries to speak about his or her
master, or shows his or her personal impressions publicly, speaks about how they do it
in his or her school, and things like that... Most of the times, we are in a determined
place to admire and not to do publicity of another person.
The traditional arts possess a historical factor of incalculable value; this is what
determines which ones are and which ones aren't. As Louis Bonald said: " The culture
forms wise persons; the education forms people". Let me explain:
Different mental regimes, or who knows, daily habits, reveal themselves in some
cases as fictitious pleasures which exclude the possibility of stagnation. Culture, no
doubt, is one of these wonderful points that lead man to permit himself being inserted
in other worlds created by other people.
Closely analyzed, this form of vision usurps, in different patterns, that which feeds
ignorance. It's simple, the small fact of permitting that the idea of the other person
penetrates and catches my attention, or takes my gaze, is in itself a point of expansion
of our individual measures of observation. Given the fact that the life we observe in an
exterior scenery reacts and develops in the form with which we allow it to be evident,
the mind, in communion with the factor "integration", undoubtedly explores new
universes in more utilitarian versions - whether in spiritual or material levels.
During my days as a student of the Catholic University, I got to understand, through
a dear teacher, that the reasons that we use in different instants, are no more than
certain projections of truths previously sowed. Within so many perspectives that I
discovered across the habit of reading (and I expect to be able to continue relying on
the tools that offers maintaining this habit with books, magazines, periodic, etc., to
 Bugei

Learning, wanting to learn, yields way to the ease of

"reinventing" oneself through a "Facebook",
social networks, etc.
There's no turning back! We are destined to have to
respect this inexorable law, at the cost of minor
damage and with the greatest advantage,
if it is still possible...
alternate with the boredom that consumes and ill-treats us
of our daily work), one of them called my attention: the I
(myself) and the OTHER!
How to establish a type of observation measure, when in
our inner reality already exist proportions acquired through
other experiences? What's happening, or will it happen, in
the mind of each one of us, when, for example, we are
listening to Bach? I remember a youngster who, upon
listening to a Bach composition, his first reaction was: "This
is horrible!" Today's generation, more technological, is
transiting along rhythms and sounds adjacent to the tribes
that divide a whole mutant society - to the chagrin of many
"dinosaurs" of earlier times.
Still, and at such a fast speed, let's get organized
ourselves in a new adaptation process that, through a
normal way, seeks to stylize our ideas, no matter how
avant-garde they might be. Perhaps, in the case of the
young man I mentioned before, his first impression had
been a cry for his ears, so attuned to the current "Tum...
Tum... Tum..." which is a remnant of the "Disco" days, of the
many sounds of the discotheques, like the "house" style or
even Hip Hop ... the reality is that in every mind commands
a type of culture, which is identified with some type of
outside panorama.
If we look at it deeply, we can see that is the being who
must find by himself his meaning and his sublimation; it's he
Bugei
who establishes for himself the measure of "liking" or not
what society presents. On the other hand, since everything
passes and everything changes, I agree with Franois La
Rochefoucauld, when he says:
"The absence deletes the small passions and strengthens
the big ones".
A student asks me:
"... But what if reflection was only imagination, illusion?"
We are part of a reality that obeys principles that can't
withstand ascension. Blaise Pascal said:
"Imagination has all the powers: it provides beauty, justice
and happiness, which are the greatest powers in the world".
We are all in a time of transit, of internal and external
changes. Technology seems to offer a panel of virtual
realities which, for their sharp interest already irreversible,
"presupposes" that within a very few years, we'll be nothing
more than an image built through our traumas and
complexes. Learning, wanting to learn, yields way to the
ease of "reinventing" oneself through a "Facebook", social
networks, etc.
There's no turning back! We are destined to have to
respect this inexorable law, at the cost of minor damage and
with the greatest advantage, if it is still possible...
 Bugei

he world today is full of innovative ideas,

systems, forms, examples that in ancient
times would have made a
difference in
the battlefields.
 The Philippines has a long history of life and death
combat. From ancient times to the modern day, the
fighting arts of the Filipino archipelago have proven
themselves time and again to be efficient, effective and
extremely deadly forms of fighting. There are countless
systems of Filipino martial arts spread throughout the
thousands of islands in this region. Many are
family arts and no outsider will likely
ever learn them. Fortunately, many
have also been made available to
the rest of the world. From the
Kyusho perspective the study
begins with learning revival
and restorations, but then
develops mobile arm
targeting as its Martial
foundation. When you
dissect an attack, besides
a kicking action, all other
attacks start with the arms,
but the challenge is that the
arms are the fastest moving
parts of the body with the
greatest range of motion and
directional attack capability.
So it is a very challenging
section of training that should be
integrated into every session, in so
many variations. There are other
ways to make this level a bit easier and
one is in the skill of Arm Trapping. Kali
Master Raffi Derderian and Kyusho Practitioner
Evan Pantazi - a collaborative film

REF.: DVD/KYUSHO 24

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si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
 MORE HIGHS & LOWS OF KICKING
by Grandmaster John Pellegrini

A few months ago, I got the

chance to spend a little time
with my good friend
Grandmaster Bill Superfoot
Wallace. I have known Bill for
almost 30 years. We became
friends after he sat on the examining
board for my Chang Moo Kwan
TaeKwonDo 6th Dan test (he even
signed my cer tificate!). Over the
years, we have conducted many joint
seminars and training camps. We
even traveled to Ireland and Finland
together. We have also been VIP
guests at many Martial Arts events
and Hall of Fame celebrations. In
2006, Bill joined the Board of
Directors of The Independent
TaeKwonDo Association, an organization I
founded over 25 years ago.
So, when I recently watched him teach
one of his kicking seminars, I should not
have been at all surprised at his ability to
kick anyone to the head effortlessly and
with blinding speed. I had seen him do
that thousands of times. But what got
me this time to reflect on his
exceptional skill was the fact that, just
2 months before, I had called Bill to
wish him a happy birthday. Superfoot
had just tuned 70 years old!
 Combat Hapkido

Even when I was at the top of my TaeKwonDo skills,

(about 25 years ago) I was never able to kick nearly as
good as Bill (who was?).
E
ven when I was at the top of my TaeKwonDo
skills, (about 25 years ago) I was never able
to kick nearly as good as Bill (who was?).
However, I was respected as an excellent
kicking technician and could routinely kick
the average student to the head, break multiple wooden
boards with powerful jumping kicks and deliver
accurate, very fast, high spinning kicks. So, now you may
want to know if I still can do that and the answer is.no.
Over the last 10 years, I have lost a great deal of my
flexibility and my joints (knees & hips) have stiffened with
mild arthritic discomfort. Part of the reason is also the
fact that I no longer spend 2 hours a day stretching as I
used to do when I was teaching 15 TaeKwonDo classes a
week. Once I shifted the focus of my martial arts career to
realistic Self-Defense, I felt that the ability to kick to the head
was not necessary and that, even if able, attempting to deliver
such kicks in a street fight, would actually be a dangerous
tactic. Therefore, when I started structuring the
syllabus of my Combat Hapkido System, I
decided to include a limited but powerful
arsenal of kicks that would be effective in
a real self-defense situation and, just as
important, kicks that most people,
men and women of all ages, would
be able to deliver relatively easily.
After months of research and
experimentation, I selected a
dozen kicks to become part
of our technical
requirements. I believe that
the kicks we selected for
our system are more than
sufficient to deal with most
situations.
 Combat Hapkido

So, how did we arrive to the foundation of our Combat Hapkido kicking philosophy?
First we had to analyze some of the realities of everyday life:

People wear regular clothes and shoes, not designed for acrobatic kicks (unlike most martial
arts or athletic uniforms).
Most people are naturally not very flexible and do not start the day with
stretching exercises before they leave the house.

The terrain where an attack may happen could be slippery with ice or rain,uneven, rocky, muddy, etc..
Not ideal for fancy kicks.

High kicks take longer to reach their destination and are easier to block or evade.

High kicks leave the body exposed and more vulnerable to counter-attack.

High kicks and spinning kicks cause the body to lose balance.

Mature and older people and those with physical limitations (past injuries,
surgery, illness, accident, etc..), are not able to deliver high kicks.

So, after considering and evaluating those factors and other relevant observations,
we made a few, simple technical decisions for our system:

We eliminated all jumping (and flying) kicks.

 Combat Hapkido

We eliminated all spinning kicks.

All kicks are directed to the lower part of the body (below the navel).

By now you may be wondering: Thats all well and good for Combat Hapkido,
an art that focuses exclusively on self-defense, but what about the ITA, your
TaeKwonDo organization, do you apply the same kicking philosophy? And the
answer isno.
TaeKwonDo is primarily a kicking art and you cannot take out or modify 80%
of its kicks and still call it TaeKwonDo! It attracts a large number of children (who
are much more flexible!) and it is an important player in martial arts sports. High
kicks, spinning kicks, jumping kicks, flying kicks and all kinds of acrobatic,
gravity-defying kicks, are part of the challenge, the excitement and the enduring
appeal of this beautiful art. And thats why my friend Bill is still in such high
demand and is booked for seminars a year in advance! But so am Ionly with a
different crowd.
And our joint seminars have always been successful because we bring together
both groups of students and instructors, those looking for great kicking techniques
and those interested in practical self-defense. We compliment each other.
And for those of you who think I envy Superfoot s kicking skills and the fact
that he does not seem to change with age, I will simply say: you are right! And
even after all these years, I still try to convince myself that it all comes down
togenetics.
High or lowkeep on kicking!
 What happens when two people practice Chi-Sao,
what is the meaning of their practice and what the
objectives? In this 3rd DVD, "Chi Sao from the base to
an advanced level," Sifu Salvador Snchez addresses
perhaps the most important aspect of Wing Chun: Chi-
Sao, the soul of the system itself, which
provides the practitioner with some
special characteristics which are
completely different from others,
and gives him great virtues. This
role deals with some aspects
quite basic in principle, but as
you delve into them, they'll
be surprising to you. It is a
very clear feature
traditional Chinese culture;
what it's very obvious at
first glance, it
nevertheless contains a
second or third reading,
which will surely change
your approach, practice
and understanding. We will
discuss how to practice Chi
Sao through our working
drills and how to apply those
drills, that ability in a sparring,
linking certain concepts,
perhaps not so much tied to
traditional Kung Fu, such as
biomechanics, structures, knowledge of
physics, etc., in order to obtain better
results in our practice.

REF.: DVD/TAOWS3

All DVDs, wichi is produced by Budo International,

si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
 In this DVD, G.M. Larry Tatum (10th Dan) develops
techniques of the Kenpo program at the highest level.
Particularly, some of his favorites like Flashing
Mace, Parting Wings, Entwined Lance
Masterfully executed and based on the
experience of the movement, G.M.
Tatum incorporates his innovative
teachings in these techniques that
will help you add and
complement your training in
the Kenpo system. Besides,
they provide the individual
with the best choice for self-
defense, based on the
logical and practical
thinking, and place him in
the path of understanding
the art of Kenpo. These are
the self-defense and
fighting systems of the
modern times we live in.
They are designed so that the
practitioner gets all the
benefits that training these
techniques can provide. This DVD
has the support of Master Adolfo
Luelmo (9th Dan), who goes on with a
series of techniques performed in a
smooth and strong way, for situations of
extreme aggression, in which can be appreciated
different states of the movement, in a logical and
effective way. As a conclusion, Master Camacho Assisi
(8th Dan), displays a technique that combines the
strength of the arms and his expertise with legs.

REF.: DVD/LARRY4

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si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
 A gr eat thinker of Jeet Kune Do, extraor dinar y benchmark,
indispensable teacher, Tim Tackett wrote this book, paragon of
intelligent reflections on the revolution that the Little Dragon opened
and left unclosed in his short passage through this world. An essential
book for understanding that legacy. Today we offer an excerpt of this
work, now available on download at very low cost. Dont miss it!

Alfredo Tucci

The last few years I've read many statements
that suggest that Jeet Kune Do is no longer
relevant. I've heard it said that learning JKD was
like driving a 40-year-old car when you should
be driving a brand new one. The strange thing is
that the arts they claim that you should be
taking, like silat, Thai boxing, or some form of Jiu
Jitsu, are actually much older that JKD. They say
that to get along in this modern world of no
holds barred, ring type of fighting, you must
cross train in both stand up as well as be well
versed in some form of grappling. How true is
this? Is knowing JKD enough?
I have to admit that if you are planning to fight
in a UFC type of match just knowing JKD will
probably not be enough to get you through to
the end of the fight. JKD is after all a stand up art
with no rules. I feel that is one of the most it not
the most effective stand up arts that exists.
There's always the chance that when your
opponent charges you and attempts to take you
down that you do a perfect interception with a
straight lead punch and knock him out, but
there's also a good chance that your distance
and timing will be off and you'll be on the ground
before you know it. To learn to survive in the ring,
you also need to learn to survive on the ground.
While footwork, hitting on the move and kicking
can get you out of a lot of trouble, it may not
always work. When watching the UFC notice
how many times one fighter starts throwing
punches only to have his opponent shoot under
them and take him to the ground. It seems
logical that any stand up fighter who wants to go
into the ring should learn to avoid the take down.
He must also learn to ground and pound, work
Jeet Kune Do
for a submission, or get back on his feet
if he does land on his back. If you want
to fight in the ring, knowing JKD will not
be enough. You will need to cross train.
How about on the street? I've heard
some JKD'ers say that no one can ever
get them on the ground. I'm not sure
that they are correct. While it is easier to
use JKD in the street, you may still end
up on the ground. One advantage that
JKD may have in the street is that there
are no rules. Two of JKD's main tools
are not allowed in the ring. They are the
finger jab to the eyes and the shin knee
side kick. I've never seen anyone take a
hard finger jab to the eyes and keep
fighting. JKD is also very much a shoe
art. A lot of our kicking is based on
wearing shoes. A shin knee side kick in
the ring while barefooted won't get you
very far, while in the street wearing
heavy shoes should finish the fight if
you know how to kick. While 90% of all
fights do not necessarily end up on the
ground, enough of them do that you
better learn how to deal with going to
the ground.
To learn to survive in the street you
will also have to cross train. You will
have to learn grappling, but if you're not
planning to go into the ring with rules,
the focus of your grappling training will
be different. You will need to learn what
Bert Poe called combat grappling.
Combat grappling's basic idea is that
you don't want to grapple. It believes
that while being on the ground may not
be too bad in the ring, it can be fatal in a
 Jeet Kune Do

If you ask 10
different Bruce Lee
students you are
likely to get 10
different, although
similar, answers.
street fight. Rolling around on the WHAT JEET KUNE DO with the techniques that Bruce did in
ground with some thug while his the movies than real JKD. While there
friends are kicking your head in is not
ARE YOU DOING? are elements of JKD in Bruce's
a good strategy for survival. Bert Poe movies, what is shown is a far cry
Ever since the tragic and untimely
always told us that if you are on the from what Bruce taught. One of the
death of Bruce Lee there has been a
ground with someone who wants to main reasons for starting to give JKD
controversy about just what Jeet
do you harm, break something and seminars was to educate the public
Kune Do is. If you ask
get back to your feet as fast as as to what authentic Jeet Kune Do
10 different Bruce Lee students you
possible. really was. While this ended the
are likely to get 10 different, although
Our idea of cross training is to work misunderstanding between movie
similar, answers. This causes a lot of
on your JKD so you can stay on your JKD and real JKD, some confusion
confusion about just what Jeet Kune
feet. Your opponent will have to get still remained. This is because some
Do really is. Because there are so
by your shin/knee side kick, and then of the people giving seminars called
many versions of JKD out there it's
your leg obstruction, and then your what was being taught Jeet Kune Do,
easy to be come confused. To really
finger jab to be able to grab you. Then or Jeet Kune Do concepts, while
understand JKD we need to have an
there's biting, gouging, knees and others preferred to call it Jun Fan
understanding of its evolution.
elbows. Gung Fu.
Before Bruce Lee's untimely death
If he gets through all of that then he Because of this, many questions
few people knew much about Jeet
still has to get you on the ground. about JKD remain. These are many
Kune Do. It was always taught to a
This is where some from of cross and varied. For example: What is Jeet
select few. After Bruce passed away
training will come in. Since there are Kune Do? Was it merely Bruce Lee's
there was never any intention to
no rules in the street, we take most of expression of himself in combat? Is it
commercialize JKD. There was no
our techniques from Bert Poe. We've a style? Is it a system? Is it a
thought to having seminars on JKD or
also been lucky to work with and pick process? Is it a product? Can it be
of writing books on the subject. But it
up stuff from such great grapplers like taught? And is it merely an
wasn't long after Lee's death that we
Mark McFann, Jim McCann, Richie amalgamation of other martial arts
noticed a lot of Jeet Kune Do schools
Carrion, techniques?
springing up around the world. Bruce
Eric Paulson and Lloyd Kennedy. When I was studying with Dan
Lee was now famous and
We w o r k o n n o t g o i n g t o t h e Inosanto in the early 1970's, there
unscrupulous people were taking
ground, but if we do end up there, was no confusion. Bruce Lee was in
advantage of his fame for commercial
we try to break something and get Hong Kong making his first movie. At
purposes. The one thing these
back on our feet as soon as that time there were only 12 students
spurious schools had in common was
possible. who met twice a week in Sifu
that what they taught had more to do
 Jeet Kune Do

After working with or

observing all of the
people who are
recognized as JKD
teachers, it's clear to
me that no one
instructor has the
entire art that Bruce
created.
Inosanto's backyard guy. What we learned in that
backyard school was called Jeet Kune Do. The
name of the school was the Jun Fan Gung
Fu Institute. Jun Fan was part of Bruce's
Chinese name. The name really meant
Bruce Lee's School.
At that time it was one of the few
places in the world where you could
learn Jeet Kune Do. Because of this we
felt that it was a special art and should
not be taught to just anybody who
walked in the door. We were told that if
knowledge was power then we should
pass it out discriminately. There were
certain things that we were told not to
share with anybody else.
Most instructors of JKD seem to feel
that they are teaching the real Jeet Kune
Do. After working with or observing all of
the people who are recognized as JKD
teachers, it's clear to me that no one
instructor has the entire art that Bruce
created. All anyone has is a piece of
the puzzle. Some have a larger piece
than others, but no one has it all. This
is because Bruce taught different
things to different people at different
times and different places. We can
divide the JKD that is taught into 2
different, basic types. These are
commonly called Jeet Kune Do
Concepts and Original Jeet Kune Do.
Jeet Kune Do Concepts started with
Dan Inosanto. He made a promise to
Bruce Lee not teach JKD to the
general public. After Bruce left for Hong
Kong to do The Big Boss movie the
school in Chinatown was closed, and
Dan Inosanto took a select group and started a
small JKD group in his backyard. After Bruce
passed away Dan started getting invitations to
teach at summer camps. Since Dan did not want
anyone at the camps to get a certificate that said
Jeet Kune Do on it, he insisted that all the
students who attended have the name Jun Fan
Gung Fu on their certificates of participation. This
was because Dan felt that you couldn't really
learn JKD at a weeklong camp and didn't want
anyone leaving the camp thinking that they could
teach JKD. Even though Dan Inosanto didn't
want his hosts to advertise that he would be
teaching Jeet Kune Do, they insisted on using
Jeet Kune Do in their advertising. Dan wanted Jun
Fan Gung Fu used, but since few people knew
what that was they kept using Jeet Kune Do. Dan
then started saying that he wasn't really teaching
Jeet Kune Do but rather Jeet Kune Do Concepts.
He defined that as using JKD principles in his
teaching, but what these principles were never
really defined.
Most of the JKD concept people seem to view
Jeet Kune Do not as a system or style. They view
it as more of a philosophical approach where
each practitioner develops a personal expression
of Lee's art. They regard JKD as merely a starting
point to their own personal expression of fighting.
They use a quote of Bruce Lee that states that
everyone should, Research their own experience,
absorb what is useful, reject what is useless, and
add what is their own. Concepts proponents
encourage martial artists to look at as many
martial arts as possible and chose from those arts
what works for them. Using the concepts
approach a student may learn when attacked to
enter with a move from kali, follow up with a silat
move and finish up with a move from Jiu Jitsu.
Jeet Kune Do
 Jeet Kune Do

Bruce was interested in

constant experimentation,
but it was not just
experimentation for its
own sake.
The proponents of what is called
original JKD feel that JKD concepts
proponents have confused the
general public as to just what aspects
of JKD they are using. They feel that
JKD is more than just doing your
own thing. To the original proponent
JKD has a definite structure that must
be taught and used to be real JKD,
but even then there is confusion as
Bruce Lee taught different things to
different people at different times. You
can divide Bruce's art into four basic
eras.
One of the major reasons for
forming what was called The Bruce
Lee Educational Foundation was to
promote unity and comradeship
between the four phases of the
evolution of Bruce Lee's martial art.
Unfortunately this may not always be
the case. The reason may be a
misunderstanding of what Bruce Lee
was attempting to do with his
personal evolution. Bruce was
interested in constant
experimentation, but it was not just
experimentation for its own sake.
Bruce's intense study of other
martial arts, and the passionate
analysis of various modern training
methods were for one purpose
and one purpose only, and that
was to make himself a better
martial artist. With this end in
mind Bruce Lee used his schools
as a sort of living laboratory. For
example, a technique could be tested
in the crucible of full contact sparring.
Then an analysis could be made as to
its efficiency.
The various instructors who came
together to form what was called the
Nucleus decided to call Bruce's art
Jun Fan Jeet Kune Do. This would
define Bruce's art as to only what he
taught during his lifetime. Many of
Bruce's students learned for him
before he created Jeet Kune Do.
Some call their art Jun Fan. Some call
it Wing Chun Do. While others call
what they do Core JKD. So we can
see that even among original
practitioners there is confusion.
The yearly JFJDK seminar gave
participants a chance to experience
all four eras of Bruce's martial art. As
James Demile said, during an
interview about the late and great Ed
Hart who was Bruce's second
student, he was glad that people got
to see all four stages of Bruce's
development as it was important to
see how A became B, and B became
C, and finally C became D. If you
were at the Seattle seminar it was
obvious that there are vast
differences in the way the four eras
approach Bruce Lee's martial art. I
think that James Demile said it best
during his portion of the third
seminar in Seattle Washington.
Referring to the differences he
observed between that of first era,
which he was an important part of,
and the forth (Chinatown) era, he
said that it was as if we had different
teachers. At first glance it does look
like the first era and the last are two
totally different martial arts with the
only thing in common is that they
were taught by the same person,
Bruce Lee. But if we look at a brief
history of Bruce Lee's martial art
growth we can see that instead
looking at it as four separate arts, we
should look at it as merely stages in
one extraordinary man's desire to
become the greatest martial artist in
the world.
It must be remembered that when
Bruce Lee came to the U.S. in 1959
he was only 18 years old. His main
martial art was Wing Chun, which he
had studied since the age of 13. His
first student was Jesse Glover who
went to Edison High School in Seattle
with him. Through Jesse Bruce
started training his second student,
Ed Hart. Later he started teaching
James Demile and then Taky Kimura.
At that time Bruce Lee mainly taught a
modified version of wing chun with
some techniques from other gung fu
systems. After about a year, Bruce,
tired of being a bus boy at Ruby
Chow's restaurant, opened a school
with Taky as his assistant instructor.
 Jeet Kune Do
Jesse Glover, Ed Hart and James Demile, not wanting to
start all over, dropped out.
In 1962 Bruce started teaching James Lee and Alan Jo.
In 1963 he moved his family to Oakland, leaving the
Seattle school in Taky Kimura's capable hands. In Oakland
Bruce started a process of shedding some of his old
techniques and adding some new elements to his personal
martial art. He added a major emphasis on physical
conditioning. Bruce also added Western boxing footwork
to add mobility to his art, and Western boxing punching to
add variety and angles to his punching reparatory. At this
time Jun Fan Gung Fu, which is what Bruce Lee called his
art, consisted of Wing Chun trapping and straight punches
with four corner simultaneous blocking and hitting, a
mixture of Northern and Southern Chinese
kicking techniques with angle punching
and footwork from boxing.
In 1964 Bruce made his move to Los
Angeles to co-star in the Green Hornet
television show, and left James Lee in
charge of the Oakland school. While in Los
Angeles, Bruce made many trips to both Oakland and
Seattle to work with James and Taky.
In 1967 Bruce opened the Chinatown school with Dan
Inosanto as the head instructor. At this time Bruce started
adding fencing theory to his martial art. His front hand
finger jab was used in a similar way to a Western fencing
foil. He adapted fencing attacks into the five ways of
attack. But most important of all he took the most efficient
defensive technique, which is to intercept your opponent's
attack with a stop hit. Bruce Lee felt that being able to
stop hit is so important that he named his art Jeet Kune Do
which means the way of the intercepting fist.
With all of the above in mind, how should someone from
let's say the Taky era look at a technique from the
Chinatown era which seems to contradict the way Bruce
taught them to do it? First of all we must get over the
concept of what is right and wrong. It is my opinion that
techniques from all the eras have value and are, in there
own way, correct. We must also keep in mind that the four
eras were not totality separate as they flowed from one to
another. Having studied with various students of Bruce Lee
from the Chinatown era, I can state unequivocally that there
are even variances in the way Bruce taught them a
particular technique. A careful study of Bruce's notes from
the Chinatown era shows that while he seemed to teach
the same things to different people, he made sure they
worked on what would be better for their body type. It is
clear from working with different Chinatown students that
Bruce Lee tailored his instruction to the individual so that
they would do what worked best for them. This can be a
small difference punching with a diagonal fist instead of a
vertical fist, or a large difference
as the stop kick with its most
common follow-up. He seemed to
teach people of smaller stature to
do a shin-knee side kick followed
by a finger jab. For people of
larger stature, like Bob Bremer, for
whom it would be more efficient
to crash the line, he taught a leg
obstruction followed by snapping
diagonal punch. In the above
case neither technique is right or
wrong. They're just different.
One thing I know for sure is that Bruce Lee was not
looking for an inferior way to do something. The idea that a
technique from the Chinatown era is inferior to a technique
from an earlier era would opposite of all we know about
Bruce Lee. After all he was audacious enough to write in a
magazine article an invitation to anyone reading it to drop
by the Chinatown school and full contact spar. Bob Bremer
told me that more than one person showed up to spar,
watched the training for a while, then changed their mind
and left.
One example of a change between Bruce Lee's first era
and the Chinatown school is the straight blast. Bruce told
Bob Bremer that there are really two straight blasts. He
told Bob to use the wing chun shoulder square blast when
your opponent is right in your face to get him off of you
and stun him. This gives you the proper distance for the
one-inch penetration-snapping punch. Once you get the
proper distance you finish your opponent off with a straight
blast that uses the weight of your body by throwing your
shoulders into the punches as well as your entire body.
This is what Bruce lee would call a non-crispy attack which
can also use boxing hook punches as well as straight line
punches. But this should only be used after your opponent
is injured and would be unable to counter attack
effectively. An example of this can be seen in a video taken
in Bruce Lee's backyard where his is punching the heavy
bag with heavy hooks. He, of course would never have
attacked someone with this method unless it was safe to
do so. If you want to see this type of straight blast in action
look at Jack Dempsey attacking Jess Willard in their title
fight. I know Bruce Lee watched it.
I feel that all of Bruce Lee's students should make an
effort to learn as much as possible, or at least experience,
the techniques and drills of all the phases of Bruce Lee's
martial arts. We should try to understand why Bruce threw
away what he did; why he changed certain things and why
he added certain things. We need to know, for example, if
his not focusing on the wooden dummy in Chinatown was
because he had already got the value out of it, or if he
found training method that he felt was more productive.
We can't know only guess.
 If by some miracle Bruce Lee could come back for a
short visit, I would ask him, Sifu, of all the techniques you
learned, of all the drills you did, and of all the exercises you
went through, which ones were the most important? Which
ones do you feel were a total waste of time? And which
ones were essential for turning you in the great martial
artist you became? Although we cannot know the answer,
I feel that students from all the phases of Bruce Lee's life
should get together in the spirit of mutual cooperation and
love for the legacy that Bruce Lee left us and try to the
best of our ability to answer these questions.
I know that we would all become better martial artists
and teachers if we could do this. Unless we do this no one
will really know what Jeet Kune Do is, and ten years from
now if we ask ten different JKD teachers, Just what JKD
are you doing? we will get ten different answers.
After all we can't really know what JKD would look like if
Bruce Lee were still around to look into the most efficient
ways to use the human body for combat. Probably a
student of Bruce's would look at what we were doing in
1973 and say that it looks as if we had different teachers.
What we need to do is look at the core curriculum and use
it as a guide into our own investigation into the most
efficient way to use the human body for combat. I feel that
by sticking to Bruce Lee's principles of combat while at
the same time learning and developing our own JKD we
will honor Bruce's memory in a way that he would
approve of.
 In this comprehensive instructional video, Andreas
Weitzel, founder and head instructor of the SYSTEMA
Academy Weitzel (Augsburg, Germany) and one of the
leading SYSTEMA Instructors in Europe explains the
most important fighting fundamentals. First he vividly
elucidates how to walk naturally focusing on
the correct execution of steps. He then
shows how to use this work in combat
applications. A variety of different
topics are explained in this movie
including: How to unbalance an
attacker; How to strike and
kick correctly; How to defend
against, grabs, throws,
strikes and kicks. The
explanations in this video
are simple but clear with
the aim for easy
comprehension and
lear ning for everyone.
During his explanation
Andreas always includes
and focuses on the most
important principles and
fundamentals of SYSTEMA
by showing how different
topics are tightly linked to
each other. Furthermore free
and spontaneous work against
different attacks including weapons
is shown under realistic conditions and
full speed. In this video Andreas is assisted
and supported by Michael Hazenbeller (Rastatt)
and Thomas Gler (Augsburg), two experienced
Systema Instructors.

REF.: DVD/SYSWEITZEL1

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si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
 In this DVD, Master Marco Morabito, with exclusive rights for
Budo International, presents a preview of the Israeli Krav
Maga Survival System. In this colossal work, the basic
method and techniques of this discipline are illustrated in a
clear and transparent manner. That is, no secrets, but in an
extraordinary job that will take you to the very
core of self-defense. The techniques are
illustrated so that they are easily
understood by all. A truly unique
opportunity to approach self-
defense or improve your
knowledge on the subject. The
author is one of todays top
self-defense exponents
worldwide and has to his
credit an extensive
experience both in the
military field and in security
companies; awarded
several times in various
countries and acclaimed by
his courses and seminars
around the world, he has
become an international
spokesperson for different
combat and self-defense
systems, little known but highly
effective. He has learned and
studied all over the world, from
Japan to the US, via Poland, Spain,
Cape Verde, Germany, Israel, France
and Russia, a continued research in
remote areas of the world, such as Siberia or
the desert of Texas, without stopping at any point in
his tireless search for new knowledge without ever stop
asking questions. The Israeli Krav Maga Survival System is
not a discipline or a set of rigid rules, but a method, a process
of continuous and constant evolution. This makes it adaptable
to any situation and circumstance and permeable to any
changes, and then be able to take stock of its mistakes and
use the experience as an opportunity to improve.

REF.: KMISS-1

All DVDs, wichi is produced by Budo International,

si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
 Video Download

"Perhaps one of the best theatrical performances

regarding Martial topics "

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 News

"The magic, the charm, the taste of the genuine.

The strength of a culture and a people
staged in its customs "

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The Ral Gutirrez Column

During the past months we

have been studying the various
physical exercises previous to
the performance of the kicks
that are developed in Martial
Arts in general. From now on we
begin to undertake a study and
research around the fight. To
that purpose, first of all I must
point out the modalities which
are studied in Fu-Shih Kenpo.
 The Ral Gutirrez Column
irst there is the Kenpo
F
Traditional Combat, that
permits the use of fists in all
their angles and modalities,
as well as the attacks of
opened hand, such as:
Seiken Tsuki, Uraken, Tettsui, Tatte
Tsuki, Shuto, Teisho, Haito, etc., and
the different leg techniques: front kick,
side kick, roundhouse kick, leg
snapping wave block, descending
kick, back kick (Mae Geri, Yoko Geri,
Mawashi Geri, Name Ashi Geri, Ura
Mikazuki Geri, Ushiro Geri and other
maneuvers). Low kicks, the various
sweeping movements and even
takedowns would also be allowed.
The Fu-Shih Kenpo Traditional
Combat is not limited by categories of
weight or degree. It's also a contact
sport in which the one and only
prohibition is that of hitting on vital
points, namely: Eyes, Ears, Nose,
Vertebral Column, groin and joints. In
addition, fights are carried out without
any protection in hands or feet. Being
too dangerous, it is only practiced in
the own Dojo and with a reduction and
control in the excess contact. It's
spectacular and therefore it requires a
high level of physical, technical and
psychological preparation of both
competitors.
And talking about physical
preparation, all those articles that I
have been offering you previously
through my monthly column, should be
studied and constantly carried out,
since general physical fitness is
essential in order to dispose of the
appropriate technique and strategy in
possible street clashes, tournaments,
championships and even to pass
degree exams or exhibitions.
In other words, we must pay close
attention and dedicate enough time to
our physical preparation in general,
given that Martial Arts are considered
complete sports. And this is very easy
to understand; no other sport - even if
many of them also demand great
efforts and perseverance -, requires
from us having to cover so many
elements in order to carry it out
successfully. Martial Arts demand a
great deal of strength, coordination,
speed, Aesthetics, Balance, etc. Then
each technique must be performed on
both sides (right / left). That is why they
are called ARTS. I often compare them
with the musical art, because in music
we must feel and express each note,
then come the chords, the melody,
etc., and each element must be in its
right place, time and duration. Without
all this, simply there is no melody that
sounds in tune. Similarly, a martial
artist must get to feel the movement,
do it with elegance, strength, speed
and precision. Otherwise, like a bad
musician, he would also be unable to
communicate his style or art.
 Kenpo

The Fu-Shih Kenpo

Traditional Combat is
not limited by categories
of weight or degree. It's
also a contact sport in
which the one and only
prohibition is that of hitting
on vital points, namely:
Eyes, Ears, Nose, Vertebral
Column, groin and
joints.
 The current modality of the Fu-Shih
Kenpo Combat can be likened to Kick-
Boxing, in which, being a Contact style
in all its manifestations, it advocates
for the demonstrated victory on the
basis of seeking the adversary's K.O.
And to protect themselves
mutually, they use
protections in feet, hands,
groin and sometimes
also in the head.
Then, fist
techniques,
kicks, low-kicks
and sweeps
will be
permitted.
In honor to
K e n p o
Grandmaster Choki
Motobu (1923), in Fu-
Shih Kenpo we seek to
approach as much as
possible to the "reality" of the
combat and therefore combat
effectiveness is pursued. My own
father (R.I.P.) was a boxer and from
very early age I got started in gloves.
But simultaneously I always felt very
attracted by the spectacular handling
of the legs, in such a way that
throughout my career, already
demonstrated and registered in the
annals of the history of Martial Arts, I
always was near those great masters,
specialists or professionals with whom
I came across in my path.
My prestigious friend and martial
fellow, the Karate and Kobudo Master
Sergio Hernndez Beltrn, said one
time that: Personally, my first contact
with the Kenpo was through Master
Ral Gutirrez in 1986, who introduced
me into a very different vision of self-
defense and, obviously, of combat.
Master Ral Gutirrez, in his
presentations of the self-defense
techniques of his style, as well as in
combat, considers and treats real
"contact" with some degree of control,
but without avoiding showing the
realism of the art.
Because of his traditional
background in the Kenpo system, he
was one of the first Masters that, at the
end of the seventies in Spain,
approached an emerging combat sport
known as Full-Contact.
Putting on the gloves in order to
bring the fight to a contact situation
closer to reality always had been the
most natural thing for Master Gutirrez,
an important research field, so he
trained full contact sparring with
Masters from the likes of Dominique
Valera, Bill Wallace, Joe Lewis, James
Sisco, Tony Palmore, Johan Vos, Jan
Plas, Benny Urquidez, Jos Vicente
Eguzkiza, Danny Lane, Chuck Norris,
Pepe Legr, Evangelista, etc.
From the sports point of view, the
subsequent "boom" of the contact
sports systems, especially Kick
Boxing, and the approach to contact
combat from some "traditional"
system, first known in Spain, like the
Koshiki Karate-Do, led him to be the
founder and president of the "World
Karate Koshiki and Kick Boxing Assn",
WKA, and the "Koshiki Spanish
Association", AEKO.
In 1987, Ral Gutirrez traveled to
Irvine, California, to participate with his
Spanish Team for the first time in the
Koshiki Karate-Do World
Championships, organized by the late
Grandmaster Robert A. Trias and
the President and Founder of the
Masayuki Kukan Hisataka. In the
Koshiki combat system, Master
event, Gutirrez and his team
Masayuki Kukan Hisataka, 9th Dan,
managed to win several individual
and Master Ral Gutirrez, resulted in
titles, Champions in Amateur and Third
the recognition of the latter as 6th Dan
Place in Professional.
of Koshiki Karate-do, given publicly in
In 1994, from 3 to 9 November, it
Tokyo, during the World
was held the 9th World Koshiki Karate
Championship. He also received high
Championship in Japan, where a
positions in the World Federation
delegation headed by the Master
(Member of the Inter national
Gutirrez, participated with very good
Committee and Representative for
results as well. The meeting between
 The Ral Gutirrez Column
Spain, along with Luis Prez Santiago, direct
pupil (Spanish) of Isataka Sensei.
Tactically and strategically, after assuring a
good physical and technical preparation, the
aspects that begin to become important are:
dance in front of the opponent, both to break
and win angles of escape or attack; distances,
the technical arsenal we have; analyze the
behavior of the opponent before our feints,
dodges or actual attacks; take time to study the
adversary, especially during the first round, find
out what kind of competitor he is: pressing,
circular, strong, agile, puncher, etc.
The goal, after these considerations is that of
being effective. And this should be attained
through a job that allows progress without
causing serious injury. A good competitor will
be clean and prudent. For his own benefit, and
also for the protection of his opponent, he will
not lose control. The different exercises must
provide the competitor the maximum technical
and tactical resources, and the appropriate
sensations that allow him to control the distance
of the target and the mobility it has.
Without apparent aggressiveness, he should
let drop his power in each impact with an
effective and, if possible, final technique. He
must be capable of combining adequately his
technical arsenal with serenity and coldness.
This will impress his opponent. He should also
try to carry out his own game or strategy and
not let himself be dragged by the strategy of his
opponent.
Also, he should avoid all those techniques in
which he doesn't fully trust and those that make
him squander his energy, or throw punches
simply for the sake of punching. He must try to
hide the possible weariness, edginess or pain
for the received impacts, and learn to strike
chaining his techniques at two or more levels
simultaneously.
It's important to ensure not "to telegraph" the
attack to the opponent, by making it faster than
the human eye, which will prevent his defense.
Work with ease, agility and throw impacts as
directly as possible.
It must be kept in mind that we are facing an
adversary probably as well trained as we are,
perhaps even better, who is also trying to attain
the victory in the bout.
There are various Combat modalities with
different rules, such as Sport Karate, Light-
Contact, Semi-Contact, Full-Contact, Kick-
Boxing, Muay-Thai, MMA, World Tae-Kwon-
Do, Traditional Tae-Kwon-Do, etc. All of these
disciplines require high physical and technical
preparation. But it is also vital to have full
knowledge and mastery of the rules
governing the tournament or event in
question. To know the rules and to fight
 The Ral Gutirrez Column
making the most of the combination of technique, tactics
and punctuation values can save a lot of unpleasantness
or disappointments.
There are competitors who limit themselves to perform
their favorite techniques and tactics to ensure their success.
And this may be not too attractive or spectacular, but for
them it's simply not to risk with other techniques that are
less safe, or even dangerous. When Full-Contact emerged,
it was compulsory to execute a minimum of kicks in every
round. Otherwise, competitors limited themselves to
"Boxing" and even many of them in a bad way. The use of
kicks, although they are more effective in relation to the
weight and forcefulness, by contrast is much more tiring to
the competitor.

In other tournaments, where Low-Kicks are allowed, many
of them focus on this effective kick with the tibia against the
thigh. With such rules, tournaments are closed to all
showiness and then turn out to be very boring.
But there are also magnificent professionals with a high
technical range, great visual impact, spectacularity,
forcefulness and clean execution in all their maneuvers. In
Kyokushinkai Karate, K1, Sabaki Karate, for example, I've
Kenpo
enjoyed great sporting events that make your hair stand on
end. Two professionals facing each other provide an
amazing show, and despite the apparent hardness, their
high level of preparation makes the injuries are minor,
because they are skilled enough to hit and receive with
elegance and aesthetics. In the next chapter we will delve
into fists training and other concepts highly relevant for
COMBAT.
 Keysi

WHEN PEOPLE REACH THE

TWILIGHT OF THEIR LIFE...
"...They don't regret not having fulfilled
their dreams; they regret not having had the
courage to fight for them".

Budo International: What is Instinct?

Instinct is our heritage of millions of years of
evolution, it's our animal past, a long journey to
get to what we know today as mankind, an
intellectual humanity; all the science, business,
professions, everything that happens in the
political world, religion, philosophy, is based on
the intellect; Instinct is something older, is the
root of evolution, is the before, during and after
mankind.

B.I.: How does the brain work?

Understanding the basic brain function is
essential to know ourselves and comprehend
our reactions and behavior to certain stimuli or
situations, but I don't have any intention of
boring you with complicated explanations; our
Instinct is the legacy of millions of years of
evolution and we have needed all that time so
that it could developed to what it is these days;
simply put, something tremendously wonderful
yet incomprehensible; at first our brain
developed in its most primitive state, like that
of a reptile, which takes care of the basic
functions that keep us alive; when humans
evolved, the reptilian brain evolved to the
limbic system, which is governed by emotions,
memories; it's fast, instinctive, it reacts
immediately to danger and acts without effort.
But the big jump, which distinguishes us
from animals, was the development of the
cerebral cortex (the neo prefrontal cortex); this
 Keysi

third part is what distinguishes us humans

from animals, because thanks to it we can
speak; it's our rational brain, which is much
slower, Logical, calculating and aware.

B.I.: Can humans live without Instinct?

Without our Instinct, we wouldn't survive
not even one single minute; this experience of
millions of years is primitive, but infallible; it
makes no mistakes and produces in human
beings miracles of which science and all the
intellect of the world are not aware, nor will
ever be able to understand; for instance,
Instinct makes that anything we eat - and
don't refer just to natural food, because today
that would be practically a miracle -, turns
into blood, and without going into detail, how
is it possible that whatever we eat our body
transforms it into blood? How does it
separate oxygen from nitrogen? How does it
distribute to each body part whatever they
need? How can our body know the amount of
oxygen needed by the brain while eliminates
all the amount of garbage we put into our
bodies? Well, all this is carried out by the
Instinct.

B.I.: Instinct and meditation?

The great scientific discoveries are always
the result of meditation, not of the intellect,
 Keysi

from Archimedes to Einstein. Relaxation is the

basis of meditation; Albert Einstein used to
spend hours in the bathtub meditating, playing
with the soap bubbles; when you relax you
leave all the tensions; meditating is to focus on
the present forgetting about the past and the
future; it consists of practicing the attention to
become more aware of our feelings.

B.I.: Keysi, Technique and Instinct.

Instinct will never be eradicated, it's by
Instinct that the man Survives and Evolves; the
social stress causes that our minds are Limited
and make us seek our references in the
Limitation; analyzing the technique, I have
observed that it allows us to carry out an
 Keysi

action in the shortest possible time and

with the minor expense of energy,
making the movement most effective;
but I have also observed that technique
is the exterior thing, what we physically
show, and this, applied in a real
situation is not functional. This is where
the term "technical concept"
disappears, and appear the
"Principles", in search of what for me it
is the most important thing: the Instinct;
through technique it's possible to come
to develop a great skill; technique can
be taught, but not the Instinct, which is
born with each person and the primary
cunning must be reawaken in each
person.
Technique and knowledge are needed
to have a real control of our physical
power, but to have an immediate
response in a real situation we need to
have a direct perception with reality
without having any interference of the
prejudices and ideology of our mind: in
Keysi we strive to wake up and
recognize that state. It is a "knowledge
that transcends logic", creating
scenarios where through meditation and
action we transcend the limitations of
logic and the analysis, to respond in an
instinctive and creative way to the
spontaneous and changing
circumstances in every situation.
If Technology, Knowledge and Theory
consist of knowing something, the
Instinct consists of doing it. The Instinct
allows us to carry out something while
others are still wondering if it would be
possible to do it. When it is obtained, it
is known and felt.
 Comprehensive or Integral Vovinam is simply going back to
the Founder's true Vovinam. The goal of the founder was
clearly and openly declared: "Harvesting effective
techniques, assimilate their essence and transform them
into Vovinam techniques", and indeed this concept still
remains in force and is mandatory for all Vovinam
Masters in the world. Vovinam is then a
research concept to achieve a super
effective style. However, today 90% of
Vovinam teachers forget it and bend
to a program too loaded, too fixed,
too aesthetic and sometimes
completely ineffective in
numerous techniques.
Comprehensive Vovinam is
simply rediscovering the
original essence of Master
Nguyen Loc's art. For that,
we have the principles, the
basic techniques, and we
just have to go back to
work out the effective way
of every technique and
apply the founding
principle. In this DVD, by the
hand of Master Patrick
Levet, we will study the basis
of Integral Vovinam, threats
and knife attacks, integral
counterattacks, and defense
against Dam Thang (direct fist) Dam
Moc (hook punch), Dam Lao (javelin
punch) as well as basic leg levers.

REF.: DVD/VIET6

All DVDs, wichi is produced by Budo International,

si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
 Wing Tsun

The Yip Mans Legacy

I've been practicing

Martial Arts most of my
life. I started at the age of
5 years and I have never
stopped practicing until
today. I have devoted the
last 20 years to the study
and practice of the Wing
Tsun Kuen style, and I can
say without deceiving
myself that the day I met
my master of Wing Tsun,
everything changed in my
life (profession, passion,
friends, studies, spare
time...). Whichever way I
look at it, in one or another
way, everything ends up in
the same place: passion for
Wing Tsun and for Martial
Arts.
In addition to my
professional work teaching
and promoting Martial
Arts, Wing Tsun Kuen and
everything around this
fantastic Kungfu style has
 Wing Tsun

transformed my way to see, understand and

walk in life.
During all these years, and as it can be easily
imagined, I have met thousands of Wing Chun
practitioners all over the world. Especially in
recent years, in which I hold the post of Technical
Director of the Wing Tsun Department in the
Spanish Federation of Olympic Wrestling and
Associated Disciplines (Federacin Espaola de
Luchas Olmpicas y Disciplinas Asociadas), I've
had the opportunity to coexist and interact with
very different families and masters of different
lineages. Many were complete strangers to me.
Today I call "friends" to some of them. This is my
"testimony", my experience, but I'm sure that
many of you who are reading this article or
follow our activities will find these words quite
familiar. We could change the name of the person
who is telling his experience and I'm sure that it
would be very similar. Please allow me launching
this personal reflection to introduce you in this
month's article, which we have titled: "The Yip
Man's Legacy."
 Wing Tsun

Why Wing Tsun?

First: It's a teaching progression perfectly
designed, step by step, so that any normal
person can reach the top if he or she perseveres
and works.
I think this is the most attractive point of this
system. As a machine perfectly meshed, each
exercise develops a capacity to a certain level,
and in the next grade, new exercises (especially
the relevant Chi Sao sections), take you up to
another level gradually, step by step. This is hard
to explain with words, it takes a few years of
practice and it requires having progressed to the
technical degree to appreciate it. Personally, the
more I study, the more I practice and teach the
more admiration produces me to see how wisely
designed are the diverse degrees up to the 3rd
Technical Grade. Capabilities such as relaxation,
training, learning to yield, explosive power, elastic
energy, adaptability and many others are skillfully
developed in a graduated way so that all those
that follow its teachings manage to obtain their
results
This intelligent design attracts the attention of
those students who have practiced other fighting
systems, especially the inner styles, because they
find clear and very precise instructions, and quick
and verifiable results.

Second: A healthy method with a very low

risk of injury.
In Martial Arts training, injuries can happen for
three reasons:
1. Accidents. A fall, a stumble, a slip, etc., this
type of injuries are accidental and occur both
outside and inside the training hall.
2. Traumatism during free fighting. That is, by a
blow or a lever made during a free exchange
(either with full contact, semi-contact, etc.),
basically, black eyes, broken nose, broken teeth,
rib cracks, bruises and sprains.
Column
 Wing Tsun
In WT, these type of injuries are fairly rare (provided that
students don't train on their own without any direction or
control) because normally, free combat is not practiced until
the student reaches a certain level. The great distance
between technical work and free fighting, is solved in a fairly
intelligent and logical way, by means of an intermediate step
that we call Da Lat Sao, in which we try to apply our technical
arsenal, displacement, angulation, etc., on an opponent who
keeps moving (unlike many other styles that practice their
techniques on unmovable opponents who collaborate
"excessively").
In the practice of free Chi Sao, thanks to the control of the
blows that this type of exercise provides, serious traumas are
quite rare.
Most likely, the detractors of our system will think that you
can't get to do combat unless you practice at full contact.
My experience in the world of Martial Arts tells me that it is
precisely that "soft" and flexible way of training what
attracts a larger number of practitioners, and especially,
what makes those practitioners to "perpetuate" in their
personal training. In the end, effectiveness, with proper
training, appears as a result of practice and, quite curious,
there are advanced practitioners with an incredible combat
level and an astonishing impact power, although they never
practiced full contact blows in free combat during their
learning. It is another of the great virtues that this training
system has achieved over the years and through its
constant evolution.
 Column

In the practice of free Chi Sao, thanks to the

control of the blows that this type of exercise
provides, serious traumas are quite rare.
 Wing Tsun
Third: A deep style that excites and
fascinates everyone.
Something I have been able to verify
is that WT creates real fans, not to say
"addicts".
Many people start by chance and, as
time goes by, they get more and more
interested in the art until it becomes a
major aspect of their life. That is for me
a fundamental aspect. WingTsun
generates enthusiasm in people who
had never thought of dedicating more
than a couple of hours a week to an
activity like this, and turns them into
true martial artists seeking the mastery
and knowledge of this exciting style.
Fourth: In the WT there are many
aspects to cover: Martial Art,
philosophy (Confucianism, Buddhism,
Taoism), education, applications for
health, psychology, Chinese culture,
etc.
One life seems too short to master
everything, but that doesn't discourage
us, quite the contrary.
Anyway, enthusiasm can be
conflicting. Our family probably won't
understand and so we have to organize
ourselves well and be smart not to
neglect other aspects of life (family,
work, friends, etc.), and especially not
become a boring "Wing Tsun nut" who
speaks all the time about the same
topic or has no other interests.
Fifth: A noncompetitive activity that
promotes collaboration among persons.
In WT, the fact of helping our
companion to improve, help us to
improve ourselves. The higher his level
the higher will be also ours. This
interdependence is very beneficial,
since it permits eliminating competitivity
and creates a climate of mutual
collaboration and good humor.
Of course, that doesn't prevent to
consider who is better, but the question
is neutralized by the desire of
progressing. Rather than seeing who
the number 1 is, we seek to advance
continuously.
Vanity does not fit well with our
development in WT, at least during
training.
Sixth: A skill that stays long even if
you stop training.
This is a curious and very telling
aspect of the art. I have contrasted
 Wing Tsun
with students who because of family, professional or
geographical reasons had quitted entirely training for 4 or 5
years, and upon returning to practice with them I noticed
that they hadn't lost virtually any of the skills developed
earlier. Some have compared this with the ability to ride a
bike. Even if don't ride for years, as soon as you mount on a
bike again, you can start pedaling without fear of falling.
Perhaps it is a type of neuromuscular memory, though I don't
really know. The fact is that it's highly motivating to know
that you don't lose what you have acquired, unlike other
sports or activities.
Seventh: A capability that can be applied unconsciously.
Another remarkably feature of the arte is the fact that when
you have reached a high level, it seems that it can operate on
its own. Someone pushes you or grabs you, even if it's
playing, and your body reacts seeking the gap before you
realize what's happening. I know about colleagues who, if
 Column

Vanity does not fit well with our development in WT,

at least during training.

A deep style that excites and fascinates everyone

you move their arms while they are sleeping, they react as if they were doing Chi Sao. This is a very important
skill for real combat, in which you have no time to think or prepare yourself.

Eighth: WingTsun is also an interesting tool to understand Chinese culture.

With a history of over 300 years, WT developed over one of the most turbulent and critical periods of
Chinese history: the Manchu invasion, the birth of the Triads, the Taiping Rebellion, the pressure of foreign
powers, the fall of the Empire, the Republic, the Japanese Invasion, World War II, the coming to power of
Mao, communism and the subsequent opening.
 Wing Tsun

When we study the history of WT, we are

contemplating sidelong the path followed by the
Chinese civilization. Chinese cinema has also
echoed the lineage of WT masters. Thus we find
films whose protagonists are: Ng Mui, Yim
WingTsun, Wong Wah Bo, Leung Yee Tai, Leung
Jan, Bruce Lee; several films about Yip Man (with
significant exaggerations) have also been recently
produced.
WingTsun is also an excellent way to access the
Chinese Traditional Culture, with its numerous
Taoist, Buddhist and Confucian elements, that are
found in its theory and terminology, in the familiar
relationships of pupils and masters, in strategies
and technical principles, etc.
It is an interesting coincidence: in my opinion,
the good things - and the others "not so good" -
of WingTsun are the same that Chinese culture
has. In other words, we can see the idiosyncrasy
of the Chinese people and their culture, accurately
reflected in WingTsun and vice versa. We've talked
before about the shortcomings of our system, but
I personally would like to stay with the virtues:
respect, patience, humility and perseverance.
I am convinced that Kungfu is without a doubt
one of the best - if not THE best - instruments to
learn Chinese culture: a culture that is called to
become a world leader in the XXI century for its
wealth, its influence, its population and its vitality.
And after all this, I think it will be very easy to
understand the relevance of the Legacy of Grand
Master Yip Man! Perhaps you haven't thought
about it, but you, dear reader, are now reading the
Wing Tsun column in the Budo International
magazine because you are driven by a passion,
the same one that is driving me and many other
people around the world: Wing Tsun / Ving Tsun /
Wing Chun (write it the way you prefer)
Wing Tsun
 Column

I am convinced that
Kungfu is without a
doubt one of the best -
if not THE best -
instruments to learn
Chinese culture.

It is necessary to look back and see how from

Yip Man's arrival to Hong Kong and the education
to students (up to that moment it only existed the
school of his master Cham WA Shum in Dothan),
the growth of the system in the whole world has
been simply spectacular. Of approximately 20
practitioners in the mid-20th century, we have gone
on to over half a million in the whole world in only a
few years.
If we can judge the legacy of a master for what
he has left his successors, that is, those who have
"inherited" his bequest, then we can say that Yip
Man is one of the most important persons in the
history of Martial Arts. From these pages I wish to
recognize his GREATNESS and claim the maximum
RESPECT for his figure and what his work has
meant in our lives.
Today I have friends on every continent, people
who live and practice the noble art of Wing Tsun
and to whom probably I would have never met if
not for this exciting style of Kungfu.

Wouldn't you agree?

Sifu Salvador Snchez

TAOWS Academy Founder
 "What beautifies the desert is that it hides a well of water
somewhere."
Antoine de Saint-Exupery

"What we know is a water drop;

what we ignore is the ocean.
Isaac Newton

Flow doesn't mean being sloppy; definitely, water is not so, for
it doesn't leave any corner uncovered... it reaches everywhere!
As asturian
people say, "water has a very fine snout". Unhurried, coupling to
the circumstances, water is a metaphor for the persistence and
extreme adaptability. It's the paradigm of changing in the form
without transforming the essence.
Water catalyzes life; without water, the land dries and gets barren;
and the fire, without a controller, spreads everywhere and the air, tur-
ned into a sandstorm, cannot carry the fertility of the clouds, or the
force of the changes. Even iron is wrought by the use of fire in the forges!
Water is the cradle of all life, the primary livelihood of both inanimate
and animate beings, all of them "bags" of hotter and hotter waters, accor-
ding to their degree of evolution, and adapted to a change that we
accompany, of which we are part, and not guilty, as some
would have us believe. The "terminal sin" is the Judeo-
Christian guilt of environmentalism.
Water comforts us, cleanses us, and blesses us.
Wet in the rivers of the moment, we swim, fight,
wreck...
Flowing, adapting to the barriers, going down,
not opposing anything, water is the perfect
analogy of humility, adaptation and not con-
flict. The water wins aimlessly; following its
nature, it surrounds any obstacle and tea-
ches us how to overcome, but with wisdom,
free from wear and tear, without losing sight
of the goal. What is a rock on the road, a
mountain? Even trapped in between
cliffs and narrow passages, water filters,
or evaporates if such a thing is not pos-
sible; nothing stops its destination.
It's been the river of life that has left
in my shores these texts, which today
I share in book format. And I say "it
left" because all authorship is at least
confusing, since we are all deb-
tors of those before us, those
who inspired and keep inspi-
ring us, of the floating clouds
of the collective unconscious,
and even, who knows!, of the
spirits and the consciousness
around us.
I can't teach anything
because I don't know any-
thing, but for those who wish
to hear my poems, here I leave
my sincere and truly felt
thoughts, every time more felt and
less thought, because mind is a
deceptive device that sees what it
wants to see and Ive learned to be
suspicious about it.
 Pukulan Pencak Silat Serak is a very brutal and devastating
Art. The Arts concept its to dominate and take over
battleground and space, fast dominating space and engulfing
opponents to prevent them from being able to use
their weapons or body. Once space is acquired,
the base and angle are taken to control
opponents rotation or projection, rooting
or uprooting is produced from the
smallest expression of touch or
angle and base position, this we
call Lengket or sticky.
Keeping very close to
opponents when striking or
using a weapon and putting
opponents on Slywa or
weightless stage of spinal
and muscle misalignment.
Once rooting takes place,
the strike makes massive
contact in the body that has
no muscle or skeletal
protection. Sambuts are
finishes meaning something
very hard to walk away from
especially when compression of
neck or spine, so finishing means
its a done deal. The opposite of
that is a Buang that stands for
throws less devastating in the beginner
levels but taught to learn mechanics that
in later phases of development of the
student or practioner can be modified to
Sambuts for devastating throws. Compressing
skeletal structure, weapons and body structures or striking,
grapping defense and offence are all played and studied in our
platforms. In this video there's a beginner Pantjar platform,
also the Jurus, which are the playbooks of the system of
Pukulan Pencak Silat Serak, are played here. This platform
teaches where to be in position to attacker, the platform is 3
dimensional and teaches where opponents body's alignments
are the weakest to point of contact the platform. It also teaches
how to deal with multiple opponents and space needed, base
angle and levers are all play here. Hope you enjoy my small
offering into a vast large Art. Hormat Terima Kasi.
REF.: DVD/SERAK-1

All DVDs, wichi is produced by Budo International,

si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
WTF Taekwondo
 We are pleased to present the second work of
the KMRED group. This video bearing the name
"Concept and Education" aims to make
you discover a part of the concept
Krav Maga Research, Evolution
and Development, as well as
the pedagogy developed
within our group. The
different exercises that
you will discover here are
not intended to "feast
your eyes" or
demonstrate our
combative attitudes,
because our priority
here is that of
explaining how we
prepare our students so
that they become
"warriors", capable of
"adapting" to the different
evolutions of street fighting.

REF.: DVD/KMRED-2
All DVDs, wichi is produced by Budo International,
si provided and alone in the formats DVD-5 or
MPEG-2, in VCD, DivX or the like is however neves
offered with a special holograma sticker. Besides
our DVD is characteristed coverings by the hig
quality in pressure and material. If this DVD and/or
the DVD covering do not corespond to the
requirements specified above, it concerns illegal
pirat copy.

ORDERS:
Budo international.com