Sport

In this first DVD of "Wind Warriors XXI", Master Rui
Ribeiro presents a work that anyone can do, in

traditional martial arts and combat sports, to improve
your health, your techniques and your way of working
both in training and in combat. EVIDENCE,
REFERENCE and CONTROL IN MARTIAL
ARTS, COMBAT SPORTS and LIFE, MAN
MOST BE WILD, NATURAL and
PREPARED. Show no afraid. Touch
your body. Make a relation with
your Spirit. Take your time to
understand the values of
what you are. Feel the
diferences of your
constitution. The way that
your brain act. External
signals exist to notify you
against further errors.
Understand the signals, the
relation of body and soul,
the relation with others, with
your senses. KIND of NATURE
/ KIND of REASON Kind of
Evolution achievements / Kind of
Systems. All it's on you. Make your
body an empty place. In the exercise of
nothing only spirit can be attacked, if you
loose natural instinct. OSS
Ref.: DVD/RIBeIRO-1
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requirements specified above, it concerns illegal
pirat copy.
ORDERS:
Budo international.com
We can only know what we are in relation to what we are not; we All relationship is a giving and
can only know ourselves in the background that provides us our receiving relationship. Giving engenders
relationship with others. We depend on others as the head of a coin receiving, and receiving
depends on its tail. No matter how short or long our life, everything engenders giving.
that exists depends on it. If you had not been born, nothing would Deepak Chopra
have happened. The whole world bears its imprint and it would not be
the same world if you were not part of it.
Alan Watts
s a species, we Humans are social beings. Impostor by nature, the mask comes to acquire such pre-
A Compared to other forms of life on the

planet, our dependence on others is
enormous. It takes us a long time to be able
to look after ourselves and this creates a lot
of interconnections at the base of our neural
structures that will depend on the stimuli received at such
an early age.
eminence in our lives that it manages to subvert reality to
even kidnap our real "I", leading us to fight tooth and nail
and even to be willing to die before getting rid of it.
But the mask itself is not a problem, indeed, it's a
necessity. The problem lies in the fact of confusing the
individual with the character, so as to get caught in a web
of self-deception and lies. That net is like a snowball
Be that as it may, the first message is clear and firm: going down a steep slope ... each time faster... each time
"We depend on others." As years go by, sooner or later, bigger... the end is predictable!
depending on cultural factors, the process of growth When mask and person act in a mixed, jumbled and
implies that of individuation. The emancipation of the confused way, we will certainly have problems of identity
parental home, for creating in turn our own environment, with ourselves and, consequently, with the others. We are
generally takes place in such a way that we believe that at times so attached to the idea of the mask, so seduced
we simply make our decisions based on our preferences, by that image, so identified with it, that we often want to
but these are so marked by our wants that we are rarely be loved the way that mask would like to be loved, but
aware of where our will begins and where the reflex, under its terms, under its conditions and with its
conditioned by our personal history and our premises, and these are not and never will be true, but
surroundings. perishable shreds of the soul of a self-generated ghost.
The dissociation of the "real I" and the "social I" is at We all need to have a positive reflection of our
the base of the majority of the personal problems in the environment, because we know that, one way or another,
relations among human beings. The only thing that allows we depend on the others. We know this because that
us to surpass that huge schizophrenic and bipolar wall is truth has been inscribed in our primary and personal DNA
the continuous reflection felt in the framework of the through a long formation in dependence of others. We
passing of time. We spend half a life creating a shell, a want them to love us, but we have to learn to let
protective armor, and the other half (hopefully) ourselves be loved the way others want to do, because
consciously dismantling it or seeing how it collapses. that is their privilege; ours will be to put ourselves or not
Consequently I'm not surprised of the dissolute and within reach of that affection and to accept or not the
unfortunate way in which human beings relate, because premises that they want to impose on us to deliver it, but
in this endeavor, they neither know the play that they are it will never be in the attempt of changing them.
representing nor the characters, and especially, they Respect for the freedom of the other is the essential
ignore who they are. So the foreseeable disaster doesn't prophylaxis as far as masks are concerned in the world of
take long to knock at your door, because, as the clever relationships. This is especially true when in love we use
legacy of Sun Tsu says: "He who does not know himself our own strength to bend to the other part. Love thus
nor knows his enemy, in a hundred battles will always be lived won't be such, but a poor facsimile of the original,
in danger." which instead of feeling, giving and receiving freely, will
In our relationships with others we cannot ignore the become confused in the marasmus of the domination of
"I" factor. From that other person: What do I want? And ... the other, the emotional slavery and a sickly dependence.
Who is the one who wants? In that game, both parts are victims of their lack of
Having personality, something much clapped up in lucidity and, curiously, that of the master will be even
the social media, is nothing but a mask that we put on. weaker than that of the slave, because in a relationship,
Identification with the mask is the result of enormous the weak part is always the dominant. The seducer is
confusion, because that is not what we are. The mask already seduced by the reason of his or her anxiety, at the
usually carries printed on it many of the expectations that very moment he or she decides to seduce.
others have put in us, as well as our own. We dream what Whether in love, in friendship or in any other aspect of
we want to become, which is never what we really are. our relationships with other humans beings, knowing
It's our tool to negotiate with people; seductive at oneself, distinguishing the I and the masks, is an
times, manipulative others, but always convenient. essential step to avoid problems with ourselves and
consequently with the rest. There's a Spanish proverb that reads: "two do not
fight if one of them does not want", that is, it takes two to make a quarrel;
what a great truth this is when respect for the freedom and the life of the other
is present!
They say that personal relationships are in crisis. When weren't they? People
live with their backs turned to their real I, submitted to confusion and self-
deception. How could it be otherwise?
Only with good foundations good houses are built, so that in love you can only
give it when you have previously become the owner of yourself, and you can only
receive it when you take whatever they want to give you as a gift, without demands,
expectations or claims. Whether or not that is the person whom we love and from
whom we want to be loved, that is quite another matter.
Great Masters
"I have not invented any

Katas, what I have done
is to give them back the
sense and force that
they should have.
Karate
I had the honor and the pleasure

of meeting Teruo Hayashi on two
occasions in our central studies,
always brought in by his pupil Jose
Maria Martn, better known as
"MABUNI", and coach of the
Spanish Karate Team, for many
years.
With a serious although affable
character, Master Hayashi was
nevertheless a circumspect person
with an impressive presence. His
somber, sober aspect changed in
the blink of an eye any time he
smiled, showing the child that
existed behind the warrior. During
both meetings we recorded some
images (which we are trying to
recover for our readers) and did
some good photo shooting.
The second occasion in which we
e n j o y e d t h e M a s t e r s v i s i t
coincided with a heart attack that
he suffered while being here with
us. In spite of his condition,
Master Hayashi attended the
appointment in our studies without
showing the slightest discomfort
at any time. Such was the
character and warrior spirit of this
peculiar knight, a karateka who
definitively plotted with his seal a
new course on modern Karate,
both from his position as the
highest technical figure of Karate,
and from that of instructor of
Karate
some of the most

outstanding practitioners.
His influence on the forms
and types of Kata executed
in the top level competition
is undeniable and his
strong impact on the ways
of working is still evident
today.
Such is the footprint, the
long shadow of this
s p e c t a c u l a r M a s t e r, o f
whom young Karate
s t u d e n t s t o d a y, e v e n
though they probably
haven't even heard his
name, they nonetheless
r epr oduce in their daily
workouts the movements
that he taught. We can
say without a doubt, that
despite the early death of
this Karate Titan, his
passage through the Earth
defined the manners and
ways that for a long period
of Karate, up to nowadays,
marked the style, the
movements and the ways
of Karate practitioners.
We r e p r o d u c e h e r e h i s
interview as our heartfelt
homage to his figure and
memory.
Alfredo Tucci
Karate
Teruo Hayashi (1924 - 2004).

A titan of modern karate
Hayashi was born in Nara, the
former capital of Japan on the
island of Honshu, in 1924. At
the age of 14 he began his
Martial Arts training practicing
Judo. At 24, after the war, he
discovered Goju Ryu Karate and
from 1949 to 1951 he studied
with Seiko Higa, a pupil of
Chojun Miyagi and Kangyo
Higaonna.
Hayashi Soke studied with
Kosei Kuniba, one of the main
disciples of the Shito-Ryu
f o u n d e r, Kenwa Mabuni.
Hayashi Soke also studied
briefly with Mabuni, but his
daily instruction was under the
tutelage of Kuniba Sensei.
Yo u n g Hayashi soon
discovered that Okinawa, as the
origin of Karate, was the place
where he wanted to be. In
order to choose the most
s u i t a b l e p l a c e t o s t u d y, h e
visited several training halls
challenging the whole dojo to a
common practice, quite popular
Great Masters
Karate
Lo ms importante es
entender el sentido de la kata
desde el principio y mientras
se piensa en qu significa,
se realiza la kata,
a partir de ah se empieza a
ejercitar el bunkai
in his time, called Dojo Yaburi, in

which he had to defeat all the
practitioners from bottom to
top to be worthy of fighting with
the Master of the place. Such
attitude made him become a
living legend and he ended up
studying with Masters
Nagamine Shoshin and Nakaima
Kenko. From Nagamine Sensei
he learned both the Shuri and
Tomari lines of Kata, a strong
style of long and fast postures
where he learned the white
crane form, Hakkaku.
From Nakaima Sensei, Hayashi
learned a secret art called
R yuei-R yu. A souther n tiger
style imported from China four
generations before the arrival of
Hayashi to Okinawa. Hayashi
was the first non-family member
to learn this style, from which
he incorporated many of its
characteristics to his own ryu.
Great Masters
Karate
There are several schools

inside the Shito Ryu and
after long years of study
and research
I have selected what
I believe is the better of
each one and I have
founded my own school.
Positions held:
Hayashi Teruo - Soke Hanshi 10th Dan Okinawa
Kobudo Kenshin-Ryu. J.K.F. Hanshi 9th Dan.
Chairman and Soke of the Nippon Karate-do
Hayashi-Ha Shito-Ryu-Kai. Adviser to the Central
Technical Committee of the Japanese Federation of
Karate-do. Council President of the Japan Karate-
do Federation of Kinki Region.
Senior technical director for over 10 years of the
World Union of Karate Organizations (WUKO,
WKF), president emeritus of the WKF Referee
Commission. In 1995 he received his 9th Degree of
the Japan Karate Federation (JKF). President of the
Osaka Prefectural Karate-do Federation. President
of the Karate-do Association of Higashi Osaka City.
Director of the F.A.J.K.O., one of the highest judges
of the F.A.J.K.O. He was undoubtedly one of the
leading Karate masters in the modern age. He was
founder, active director and chairman of the
Hayashi-Ha Shito-Ryu Kai Karate-do School and
the Japan "Kobudo Kenshin-Ryu-Kai" based in
Osaka, Japan.
Great Masters
Jose Maria Martn "Mabuni", Alfredo Tucci (director of this magazine)

and Master Teruo Hayashi in one of the latter's two visits to Budo
International, more than 20 years ago.
Karate
Great Masters
Karate
interview with one of the lea-

ders of modern karate
If the world of fashion had

an equal in Karate, Sensei
Hayashi would be Cristian
Dior of modern Karate. This
man has created a line of
work with Katas that is
br eaking the mold in top
competition. The reason for
this lies in his overwhelming
personality. He is a man
who is deeply committed to
the essence of the kata and
to recovering the sense of a
primordial and warring dance
that exists inside each Kata
and that goes way beyond
aesthetics. His school
known as Hayashi-Ha has
captured the attention of
some of the best
international competitors
within and outside of the
Shito Ryu School. Hayashi
Sensei sets the rules and
sets the focus and as he
says "I have not invented any
Katas, what I have done is to
give them back the sense
and force that they should
have.
Great Masters
Karate
Budo International: Tell us about when you

started in Karate.
Hayashi Sensei: I was born on the 21st October
1924, in the Nara prefecture. From the time I was
13 until I turned 18, I practiced judo in the
Kusunogibukan dojo and then the war started and
I had to enlist as a soldier. I went to Kyushu and
stayed there until the end of the war and as soon
as I returned I began to do karate. At that time
judo and kendo were prohibited in Japan and
since I did not have any choice I thought, "why not
try karate?" and so I began to do so in the Kuniba
Soke-sensei dojo.
Thats why I was more than 20 years old, 21 to
be exact when I started which was rather late.
However, although I say so myself, I did train very
hard from five in the afternoon to twelve o'clock,
come rain or typhoons! I was very disciplined in
my training even perhaps too tough as the Sensei
once said. I trained at this rhythm every day
without rest for 3 or 4 years.
Budo International: Did you know any of the

important Sensei of that time, like Mabuni or
Funakoshi?
Hayashi Sensei: In those days I wasnt an
important person, therefore I didn't have the
occasion to meet those Sensei, and unfortunately
they all died during that time so I couldnt meet
them later on either.
Budo Inter national: The World Karate

Federation has finally achieved Olympic
recognition and we would like your opinion on
the entrance of karate in the Olympic games.
Hayashi Sensei: Karate used to be separated
into two organizations, the W.U.K.O with Mr.
Delcourt at its head and the I.T.K.F led by Mr.
Nishiyama and there had always been conflict.
Then it became necessary for there to be only one
organization so that it could be Olympic and
Great Masters
Karate
The most important thing is

being forgotten,
the combat spirit,
when the katas are carried
out it is like a real fight.
despite many difficulties the I.O.C. finally

recognized us thanks to the efforts of Mr.
Espinos. I believe that our entrance into the
Olympic games is very important for people who
are practicing right now and for the future so we
will make an effort to do everything possible so
that it becomes reality.
Budo International: There are some Masters

who dont give a great deal of importance to
the kata within their training. Could you
explain to us what the kata means and why it
is important for the young practitioners of
today and of the future?
Hayashi Sensei: The katas are the base and
therefore they are very important and each one
of them has its own meaning. But at the present
time they have become simple, fast and showy
movements that have no depth of any kind. That
is to say they are carried out as if they were a
simple sport, without any content. We have to
keep an eye on this as the referees are also
allowing this to happen because of the way they
are assigning points and it seems that the
movements are being learned with the only
objective of getting points and nothing else, it is
an empty exercise.
The most important thing is being forgotten, the
combat spirit, when the katas are carried out it is
like a real fight, and this feeling should be present
in the movement as well as a feeling of victory.
To give you just one example, it seems that
only movements above the waist are important
Great Masters
Karate
The purpose of the

foundation of the
Hayashi has, is to give
meaning to the kata as
I have said before.
and that the immense importance of the
"tachikata" or way of standing and
positioning the legs are fundamental.
But it is very important to teach the
meaning of each kata and I am working on
this to try and identify the meaning of each
movement and teach it and encourage
other people to transmit it.
Budo International: Each kata has a

bunkai. Can a kata have several
"bunkai"? Can you explain for us the
meaning of the "bunkai" and their
training?
Hayashi Sensei: The kata were created
a long time ago and they were created with
a meaning, they have an origin, a sense
and their own different bunkai. Similarly,
the oyo-waza come from the bunkai and
they are both more than simple repetitions
of forms or movements and the truth is that
they are understood only after they are
practiced. The meaning of each kata is
different and therefore each bunkai is
different. The most important thing is to
understand the sense of the kata based on
a principle and while you execute the kata
you think about what it means and this is
the starting point for beginning to perform
the bunkai.
Budo International: Can you tell us

where the Hayashi ha shitoryukai is
positioned inside the Shitoryu school
and what objective has it got?
Hayashi Sensei: The purpose of the
foundation of the Hayashi has, is to give
The katas are
the base and
therefore they
are very
important and
each one of them
has its own
meaning.
But at the
present time they
have become
simple,
fast and showy
movements that
have no depth of
any kind.
Karate
meaning to the kata as I have said

before. The kata are not only forms,
there are several very important factors
inside the kata:
They have to show combat spirit, and
the important points to keep in mind
are: The kihaku or kiai. The kime.
Balance. Speed
All these factors are equally
important, and they need to be joined
together, be demonstrated to others
and transmitted to others in a way that
they can be understood.
There are several schools inside the
Shito Ryu and after long years of study
and research I have selected what I
believe is the better of each one and I
have founded my own school.
My school is being recognized at
world level because the women at my
school are getting excellent results and
in the last few years they have won
many firsts from the World
Championship, the Asian
Championship, and the World Cup
World Game.
Practitioners shouldnt carry out the
kata as if they were simply physical
actions, they also have to know the true
meaning of them and to demonstrate
this in an impressive way.
I have not invented any new kata, but
rather I have collected kata that already
existed giving them the meaning and
the force that they should have.
Budo Inter national: Thank you

Sensei.
Great Masters
Karate
The iron wire
The Secret Form
1 - 2 - 3 - 4 July 2017 - Genoa (Casella) - Italy

I Hung Gar Special Seminar
The Secret Form
Taught and analyzed in all its secrets
by Grand Master Paolo Cangelosi.
The form of the 6 moods, the 5 emotions,
the 12 bridges, accompanied by the sound of
the inner singing, the sonorous poem of Grand Master
TIK KIU SAM.
The seminar is open to all those wishing to delve into the advanced level of Kung Fu. It
will be carried out in the midst of nature and includes study, practice, room and board. A
total immersion.
ENROLLMENT IS OPEN AND IN LIMITED NUMBER
For more information and details:
tel. +39 010 8391575 / cell. +39 340 6848475
email: cangelosipaolo@libero.it
www.sifupaolocangelosi.com
fb: School Sifu Paolo Cangelosi - Headquarter Kung Fu Genova - ITALY
Chin Na techniques require a thorough study not
only of the body joints, but also of Anatomy in
general. Chin means "catch, capture" and Na means
"control." Then we can say that Chin Na are those
techniques of gripping, pressure and dislocation, by
which we can control our opponent in a defense
situation. The Shaolin Chin Na techniques are
used to neutralize or interrupt an attack.
Although its origins date back
practically to the foundation of the
Shaolin Temple itself, it is well
known that already during the
last Chinese dynasty, Chin Na
techniques were most
popular among the
population in general, so in
that time the techniques of
capture and control lived
their moment of boom and
expansion. Chin-na
practice should be done
placing a greater emphasis
on the development of the
control and sensitivity
needed to leave an attacker
defenseless by any of the 5
principles of Chin Na:
Muscle or tendon tearing,
Incorrect bone placement, Blocking
or cutting off respiration, Blocking a
vein or artery, Pulsing a channel of Qi.
REF.: DVD/YANTI2

pirat copy.
ORDERS:
WT Universe
Wing Tsun Universe (WTU)

und das WTU Wing Tsun
Ich wei nicht so genau

was Kampfkunst oder im
speziellen Wing Tsun fr
viele da drauen ist. Wenn
ich mir die verfgbaren
Informationen so anschaue,
kommen mir zwar einige
Gedanken und Ideen, die ich
hier aber nicht prsentieren
mchte.
Fr mich ist das Wing Tsun
Universe (WTU) eine
Organisation zur
harmonischen Entfaltung
menschlicher Potentiale.
Das WTU Wing Tsun ist
fr mich ein Werkzeug in
diesem Rahmen. Ein
Nebeneffekt dieser
n a t r l i c h e n
Bewegungsschule ist die
natrliche Art des Menschen
zu kmpfen, welcher in
unserer heutigen Zeit wieder
an Bedeutung gewinnt,
jenseits von sportlichen
Wettkmpfen.
Alfred Johannes Neudorfer (GM)
Schwierigkeiten als Strfaktoren
Oft hat man das Gefhl, dass die Menschen die
kleinen und groen Schwierigkeiten, die das Leben so
mit sich bringt nur als Strfaktoren in ihrem gewohnten
oder erwarteten reibungslosem Lebensablauf
wahrnehmen.
Ich unterscheide dabei sehr genau Schwierigkeiten
und Probleme. Meist werden diese Wrter im tglichen
Gebrauch recht unterschiedslos und wahllos
verwendet.
Probleme sind fr mich Situationen oder
Umstnde, die nur im eigenen Denken existieren, sie
grnden quasi in uns selbst. Sind wir in der Lage, sie
ber Bord zu werfen, haben sie keinerlei weitere
Folgen. Von ihnen lebt eine ganze Industrie von
Institutionen und Menschen.
Schwierigkeiten dagegen grnden in den Situationen
und Wechselwirkungen mit der Auenwelt.
Sie zu ignorieren, hat keinerlei Auswirkungen auf ihre
Existenz. Ist der Khlschrank leer und ich habe kein
Geld und ich unternehme nichts, dann werde ich
verhungern. Das ist eine Schwierigkeit.
Schwierigkeiten schenkt uns das Leben, damit wir
uns verndern, damit wir eine kleine Chance haben uns
zu entfalten und zu wachsen. Damit wir nicht das ganze
Leben im Tiefschlaf unserer Routinen und dem Kerker
der Konditionierungen und Kfig der Identifizierungen
verbringen.
Mit alten Worten ausgedrckt: Schwierigkeiten sind
die Gnade, die uns Gott schenkt. Nur durch Risiko
WT Universe
und Reibung knnen wir wachsen. Nur wo
Risiko ist, ist auch Verdienst. Nur wo Scheitern
mglich ist, existiert wirkliche Erfahrung. Im
Kollektiven, so wie im Persnlichen. Der
Unterschied liegt nur in der Geschwindigkeit des
Wahrnehmungsflusses.
Die Wahrnehmung des heutigen Menschen ist
aber meist eine andere. Hier kann man als gutes
Bei- spiel das WTU Wing Tsun nehmen. Die
Wechselwirkung mit der Umwelt, also der
Gegner wird als Strfaktor wahrgenommen, den
man im gnstigsten Fall mit Geschwindigkeit
und Kraft und mit mehr oder weniger effektivem
Einsatz der menschlichen Anatomie zurecht zu
hacken versucht. Andere ver- suchen innere
Krfte zu bemhen, welche aber fr solche
Bestrebungen nicht greifbar und auch nicht
handhabbar bzw. ntig sind.
Das alles hat aber nicht das Geringste mit
WTU Wing Tsun zu tun.
Wir Menschen sollten und knnen uns als
Prozesse in der Raumzeit wahrnehmen und
stehen in Wechselwirkungen mit allen anderen
Prozessen in dieser Raumzeit. Wir knnen damit
primitiv, fortgeschritten, souvern und virtuos
umgehen.
Das hat jedoch nicht das Geringste mit
ueren Titeln oder Ausschmckungen oder
Besttigungen zu tun. Man knnte auch in einer
zeitgemen Sprache sagen: Schaffst du den
Level, erhht sich im nchsten der
Schwierigkeitsgrad und es verschrfen sich die
Umstnde. :-)
WT Universe
Den Unterschied zwischen Problemen und
den Umgang mit ihnen knnte man auch so
beschreiben: Wo kein Stress notwendig ist,
stressen sich die Menschen knstlich durchs
Leben und sorgen fr Reibung, die nicht
notwendig ist und keinerlei
Entwicklungspotential hat.
Treten aber Schwierigkeiten auf, dann lassen
sie sich gehen und / oder verfallen in Aggression,
statt mit aktiver Gelassenheit zu agieren und das
innewohnende Entwicklungspotential zu ntzen.
So verheizen sie sich und die Mglichkeiten, die
der Situation unter Umstnden inne wohnen oder
bersehen das Zeitfenster, in dem ihnen
Vernderung mglich ist.
Einen kleinen Geschmack und Impuls bekommt

man vielleicht, indem man sich mit folgenden
Schlsselbegriffen zu beschftigen beginnt:
Problem / Schwierigkeit
Konditionierung
Identifizierung
Form / Inhalt
Korrektheit
Verbindlichkeit
Aufmerksamkeit
Ans Ende stelle ich ein

altes Zitat aus der
WT Universe
TRADITION:
Vertraue auf Gott, aber binde dein
Kamel fest.
Wing Tsun Universe (WTU)

and the WTU Wing Tsun
I do not know exactly what martial arts
or special Wing Tsun is for many out
there. When I look at the available
information, I get some ideas and ideas
which I would not like to present here.
For me the Wing Tsun Universe (WTU)
is an organization for the harmonious
development of human potentials. The
WTU Wing Tsun is a tool for me in this
context. A secondary effect of this
natural movement school is the natural way of fighting, which is
gaining in importance again today, beyond sporting competitions.
Alfred Johannes Neudorfer (GM)
Difficulties as spurious factors

Often one feels that people perceive the small and
great difficulties that life brings with it as a disturbing
factor in their usual or expected smooth life.
I distinguish very clearly difficulties and problems.
Most of these words are written in daily use quite
indiscriminately.
For me, problems are "situations" or
"circumstances" that exist only in one's own
thinking, they are basically founded in
ourselves. If we are able to throw them
overboard, they have no further
consequences. A whole industry of institutions
and people lives from them.
Difficulties, however, arise in situations and
interactions with the outside world. Ignoring them
has no effect on their existence. If the
refrigerator is empty and I have no money and I
do nothing, then I will starve. This is a
difficulty.
Difficulties are giving us life so that we can
change, so that we have a small chance to
develop and grow. So that we do not
spend all our lives in the deep sleep of
our routines and the dungeon of
conditioning and cage of
identifications.
WT Universe
In old words, difficulties are the "grace" that God gives us.
Only through risk and friction can we grow. Only where risk is, is
also merit. Only where failure is possible does real experience
exist. In the collective, as in the personal. The difference lies only
in the velocity of the perceptual flow.
However, the perception of modern man is usually different. The
WTU Wing Tsun can be taken as a good example here. The
interaction with the environment, ie, the opponent, is perceived as a
disturbing factor, which is best tried to cope with speed and force
and with more or less effective use of the human anatomy. Others
try to exert internal forces which, however, can not be grasped for
such endeavors, nor are they manageable or necessary.
But this has nothing to do with the WTU Wing Tsun.
We humans should and can perceive us as processes in
space-time and stand in interactions with all other processes in
this space time. We can deal with it primitively, progressively,
sovereignly and virtuoso.
However, this has nothing to do with foreign titles or
decorations or confirmations. You could also say in a
contemporary language: If you manage the level, the next
difficulty increases and the circumstances become more acute.:-)
The difference between problems and dealing with them could
also be described as follows: Where stress is not necessary,
humans are artificially stressed through life and provide friction
that is not necessary and has no development potential.
But if difficulties arise, they let themselves go and / or fall into
aggression instead of acting with active calmness and exploiting
the inherent developmental potential.
Thus, they pose to themselves and the
possibilities that may be inherent in the
situation or overlook the window of time in
which they are able to change.
A small taste and impulse may be obtained

by dealing with the following keys:
Problem / Difficulty
Conditioning
Identification
Form / content
Correctness
Liability
Attention
At the end I present an old quote from the
TRADITION:
"Trust in God, but tie your camel first."
WT Universe
Krav Maga Israeli Survival System: the new Krav Maga
frontier. After the success of his first DVD, Grandmaster
Marco Morabito appears unprecedented in Budo
International with a DVD dedicated to weapons: Morabito
knowledge in both civil and military defense fields
intertwines in an explosive mixture of technology and
innovation. Nothing is left to chance and there are no
secrets: with "experimentalis cognitio", the most common
armed attacks are carefully examined paying
utmost attention to every single detail.
Diverse techniques with the most
common weapons are analyzed,
always bearing in mind that there
is no such thing as a "universal
pattern of aggression": the
kinds of attacks are unlimited
and so are the means of
defense. Technique is only
the basis of study to
acquire and develop
fluency and conscience of
the movement, but the
aim is that of making our
defense instinctive thus
shortening the time of
reaction. As on the ring, we
will never have the
mathematical certainty of
winning the bout, but we can
greatly increase our chances of
emerging victorious: "He who
fights risks to lose, he who doesn't
fight has already lost." Morabito, with
his Israeli Krav Maga Survival System wants
to break with the patterns and show the public
something totally new, far from the regular old-fashioned
techniques, emulated for decades. On this DVD,
technique melts with experience and everything acquires
clear and definite contours. Nothing is left at random and
the most common mistakes are unmasked and analyzed.
In the Israeli Krav Maga Survival System you will find an
exceptional and authentic new method of self-defense.
REF.: DVD/KMISS 2

pirat copy.
ORDERS:
KAJUKENBO KOSHO RYU
THE BLACK BOOK OF KAJUKENBO
In this new article we will talk

about something that not all
practitioners know: The Black
Book of Kajukenbo.
Kajukenbo
ut what is all that about the Black
B Book? What Black Book? Not even

all the Masters of the Art know
about it! It sounds a bit sinister by
its name, but nothing further from
reality. The Black Book is a custom,
a habit that until recently was kept within the
Kajukenbo rules and principles. It's an exercise
of notes of all the Art that you, as a practitioner,
have had to write on your own handwriting, from
your arrival as a Pupil, until your graduation as
Black Belt. At that time you must give your
Master two copies. Yes, that's right! Two copies;
not one, but two. One copy will be for your
Master and the other, after the review of the
written, for you.
The file must be in good condition, without
obliteration or page breaks, as this will be an
important part of your evaluation and promotion.
Everything you have written and the way you
animate it, will demonstrate your attitudes,
virtues, defects and, what is more important, if
you really have integrated the Art of Kajukenbo.
Seen from a point of view outside the system,
it may seem insignificant, but it's not in no way,
because if for whatever circumstance you were
forced to give up training temporarily, you'd
always have your book as a reference and thus,
on your return to training with your Master, you'd
be able to resume your work just where you had
left it.
What has been one of the problems of this
way of preserving the system? There was no
shortage of Masters who quit training for many
years or closed their schools. After 10 or 30
years retired from active training, on reviewing
these books, we will be troubled by all kind of
doubts, because no matter how well we dictated
or drew at the time, it will not be easy to clearly
understand what we once wrote.
I wonder whether this is one of the reasons
why Kajukenbo lost part of its essence and of its
specific modified techniques, to continue a work
that we started 30 or 40 years ago. After such a
long time, it is obvious that we wouldn't be the
same physically, mentally or spiritually.
Kajukenbo
Kajukenbo
May this not be understood as a criticism to

anyone, but it should be rather considered as
a reflection on a series of circumstances
which is not the first time they happen.
Thank God today we have other devices to
be able to compile that Black Book. Such
devices are the new technologies, photos,
videos etc. We all have a camera and video in
our mobile phone, and we can keep
everything recorded and photographed, so
that on our Graduation day we can count on
our new electronic Black Book of the
Kajukenbo. In that way, even if we stopped
working out for a while, on our return we
could review and understand well our
recordings, understand the movements, the
how and why. Thus we can maintain our Art
and continue to evolve, but with a clear sense
and preserving those bases that our Master
transmitted to us.
At this stage of the story, let each one draw
his or her own conclusions if this makes sense
or not, everything remains hard work that only
we as students must carry out.
Today there are many practitioners who do
not value the Master who taught them, helped
them along a part of the way or even during
the whole path, and they appear as if they had
made themselves.
Today there are

many practitioners
who do not value the
Master who taught
them, helped them
along a part of the
way or even during
the whole path,
and they appear as if
they had made
themselves.
Kajukenbo
The film "The Silent Flute (or The Circle of Iron") expresses it wonderfully during the
scene of the fight with the monkeys, when they laugh at the protagonist who claims that
he has made himself, they proclaim: "Look at the man who has no mother! Ha, ha,
ha...!". By the way, the film, whose scrip was written by Bruce Lee, even if it isn't worth
much as an action movie, on the contrary its background and the teachings implicit in it
are nevertheless magnificent. Do not miss it!
We all owe something to someone on our way and I'm not talking about economy or
servility, but what we know we have learned from someone, be it a book, a video, a
magazine, a Master... Well, if you have had the privilege of being an enlightened or you
have learned through your dreams, congratulations, we the rest of the mortals owe it to
that Master who helped us at some point in our lives.
From these pages I want to thank SGM Cherry Ortega, my Sifu in the Art of Kajukenbo,
who guides me every day, for all this knowledge, so that it doesn't get lost or forgotten.
To finish, I hope that what is written here is of your interest and thus contribute
somehow in the knowledge of this our Art ... Mahalo
Karate
Historical Files
PROPOSAL TO INTRODUCE
KARATE INTO THE SCHOOLS
PRESENTED TO THE
GOVERNMENT OF OKINAWA
BY MASTER ANKO ITOSU.
Contrary to what people
believe Karate does not
come from Confucianism or
Buddhism, rather its origins
are in two karate schools
that were introduced into
Okinawa from China. The
schools were Shorin Ryu and
Shorei Ryu and they are
based on solid and
appr opriate principles of
human life, and for this
Photos: Salvador Herraiz
Karate
reason they should be

preserved and not
altered.
In order to familiarize
ourselves with the basic
pillars of karate we have
to turn to Master Anko
Itosu (1832-1915) who
has pr oposed them to
the government of
Okinawa so that the
discipline of karate can
be introduced into the
schools as a form of
education. They are the
following:
Karate doesn't only consist in the
effort that one makes to achieve
physical objectives but rather it is a
moral discipline, so that if a person is
forced to fight for a just cause, karate
training gives him the strength and the
necessary courage so that his life is not
in danger. Now, if the individual who is
the attacker is an inexpert opponent he
should try to abstain from using his
legs and hands in defense in order not
to cause excessive harm.
The first objective of karate training
is to strengthen the individual's
musculature to make ones physique as
hard as iron or stone and in this way
the extremities become weapons like
the sword or the lance (halberd). If we
follow these indications karate training
will teach bravery and the value of
people in the face of difficulties.
Karate cannot be lear ned
appropriately in a short period of time.
One has to be like a bull, unconcerned
about how slowly it moves, eventually
traveling a thousand miles. In this way
a person who works two or three hours
a day, diligently studying this discipline,
will see the light after three or four
years of constant effort when their
body is transformed revealing the true
essence of karate.
One of the most important
objectives in karate is the training of
hands and legs, for which use should
be made of "makiwara", hitting it one
or two hundred times sequentially, by
Karate
means of tsukis (fist attacks), and with a variety of leg attacks (for example,
"ma-geri" from the position "sencu-sudachi"). The most effective form of
carrying out this training is the following one: the person should lower his
shoulders to open his lungs and channel his energy, rooting himself strongly to
the floor to secure his posture and finally concentrating his vital or intrinsic
energy (known as Ki) in the tanden, or what is the same thing in an area of
the body located below the navel. To get the most out of this exercise it should
be done everyday.
An erect position should be maintained during the execution of karate
postures; the back should remain in a straight line maintaining the musculature
straight up with the shoulders down and legs strong but flexible. One should
also be relaxed with the force of the "Ki" centered in the "tanden", moving the
upper and lower body in a coordinated way.
Karate is made up of a countless number of techniques with many
meanings. However, this should not worry the individual, provided he has it
clear that he should explore the context of these techniques independently
according to the principles of the theory ("torite"), that will give him a better
understanding of the techniques at the moment of their practical applications.
During karate training one should determine what his objectives are for the
development of the discipline, that is to say, is he doing it to develop his body
or for purposes of self-defense.
Intensity is an important objective in karate practice; therefore, if during
training a person visualizes the battlefield then this will bring about a significant
increase in training performance. In this way, the eyes should show strength
while the shoulders lower and the body contracts, for example when the body
blocks and a counter attack is executed. If you train with this spirit you are
preparing for any confrontation that may occur during your life.
The quantity of training is in proportion to physical condition and the
reserves of each individual's strength, and in this way excessive training is
harmful for the body. Excess can be detected in symptoms such as reddening
of the face and the eyes.
Karate practitioners usually enjoy a long and healthy life thanks to the
benefits of constant training. The daily and beneficial practice of this discipline
invigorates the muscles and bones, improves the digestive system and
regulates blood circulation. This is one of the reasons that if this discipline is
introduced as a teaching method from elementary school onwards, we will
produce better-prepared individuals with stronger defenses.
With these teachings in the mind, I am totally convinced that if we are able
to integrate them into the educational system, both at the elementary level as
well as in the university environment (for example as a subject in teacher
preparation programs), it will not only extend to the schools but also to the rest
of the population, as a leisure culture based on the physical and psychic
benefits of the sport. This is the same message that the Duke of Wellington
transmitted after defeating Napoleon, "today's victory is owed mainly to the
discipline achieved by children during recess at elementary schools."
Thus, Master Anko Itosus testimony clarifies the true reason for the
popularization of karate, and its goal of creating not only military but also
cultural and sports connotations for karate.
I hope this document helps us to understand certain concepts that we may
associate with other Masters and that also explains why most Masters of the
Shorin Ryu schools that we currently know start from this point with their
respective students.
Aikido
It is indeed a fact that Aikido has captured a type of lover of

Martial Arts who is educated, refined and with a higher cultural level
than the average Martial Art practitioner. Artists like Konigsberg
have heard the Martial artistic call of Ueshiba and have surrender
themselves responding to the "magical" energy of the call.
Aikido possesses the perfect mixture between philosophy and
Martial Art that has seduced many people of liberal professions
who desire to find in Martial Art a vital complement strongly
connected to their growth as individuals. In a word, something
capable of opening new doors in a life that aims at going beyond
the mere simple social or working success. Harvey Konigsberg is
one of these remarkable examples, a man of talent, perfectly
committed to the love of the Arts. I am sure you will enjoy his
experience and his magnificent paintings.
Interview
Michelle Feilen & Francisco Manchn

www.aikifeilen.com / aikifeilen@jazzfree.com
Aikido: Painting with Ki

Aikido
Budo International: What was your introduction to

Aikido?
Harvey Konisberg: In 1965, I had a loft in Manhattan,
in New York City. A friend of mine, who had been taking
Aikido, brought me to the New York Aikikai. Yamada
Sensei was Chief Instructor there, and had invited Tohei
Sensei to come teach as well. What I saw amazed me
and made me want to begin training immediately.
Another friend a former professional boxer who was
visiting from Baltimore had come along to watch as
well, and was very impressed by what he saw. He told
me that when I began to practice, I should grab the ins-
tructor as hard as I could and afterwards describe to my
friend how the technique felt. I did begin to train, and
every time I grabbed the instructor that hard, Id end up
on the mat. I couldnt understand how that could happen
time after time. Id get up, saying something like, I was-
nt ready. Let me try it again. But Id end up right back
on the mat again.
B.I.: When did you first become interested in art?

And when did you decide to make art your lifes work?
H.K.: By the time I was three years old, I had already
begun to draw, so I was interested in art from the very
beginning. However, my family discouraged me from
pursuing art as a career. They wanted me to focus on
something more practical like medicine or law. But being
a determined person and clear about what I liked I
made art my first priority. At University, I studied with
Eugene Massin, who had just returned from a sabbatical
in Spain. The year was 1958.
Gene was the most influential person in my life as an
artist. Not only is he a great painter, but he was the first
one to back me 100% in my efforts to become a profes-
sional artist. Gene invited me to become one of his
apprentices. I watched him work day in and day out and
knew that that was the life for me.
B.I.: Many of your paintings feature movement and

action. How has Aikido influenced your paintings?
H.K.: Ive always been fascinated by action: bodies in
motion. What creates the movement, what results from
it, the tensions implied by it are all subjects I deal with in
my work. When I was a teenager, I was attracted to
boxing because of the freedom and spontaneity of the
movement. It was so compelling to me that at the time I
intended to become a professional boxer. I trained very
Interview
Aikido: Pintar con Ki

Aikido
Interview
hard in anticipation of this, however the physical and business aspects of boxing
didnt suit my nature. When I began training in Aikido a few years later, I found
that same spontaneity of movement, but with greater freedom. Aikido, in turn,
has influenced by painting by use of techniques that emanate from the center,
producing free, open brushwork. Also, the dynamic nature of Aikido has made
its techniques powerful subjects for my paintings.
B.I.: What do you try to transmit through your art?

H.K.: I basically paint what excites me. The transmission of that initial energy
is first to myself: if it succeeds in touching me, Im confident it will communica-
te to the viewer. One of my prerequisites for a painting is that it has a life of its
own. A painting must breathe, vibrate, shimmer. Similarly, one of the interesting
aspects of Aikido is the connection and communication that is created between people. As in painting where you com-
municate with yourself first in Aikido, in order to have an impact on the partner, you must align yourself with yourself first.
Everything in art and Aikido begins with this centering process.
B.I.: What venue do you currently use to sell your paintings?

H.K.: Having had more than 20 solo exhibitions of my work as well as being featured in many galleries, I was always
somewhat frustrated by how confining that was. Not many people can view a painting at any one time. But now, with the
Internet, my art is available to everyone, any time they want to see it. For instance, a series of my Aikido works are fea-
tured at www.aikidoonline.com/harvey. Based on the success of this website, I am exploring making more of my works
available online.
B.I.: What do you try to transmit to your Aikido students?

H.K.: I try to give my students the same teaching that my teacher Yamada Sensei gave me, namely to develop ones
own natural, spontaneous ability through the harmonious and dynamic practice of traditional Aikido technique.
B.I.: Why dont you teach painting or drawing?

Aikido
H.K.: Basically I dont follow the traditional rules of art, so Im not interested in teaching them. For me, painting is a mat-
ter of sensations and feeling, and this is very difficult for me to communicate in a classroom setting.
B.I.: How do you think your Aikido practice has changed over time? And how is your art different now?
H.K.: When I began practicing Aikido in 1965, I was 25 years old. Im 61 now. During this time, my physical energy has
changed. I dont have the same level of muscular strength as I did as a younger man, however through the refinement of
technique, my energy is used far more efficiently. The result is not only more powerful technique, but also more joyous
practice.
Because art is a solitary pursuit, its progression over the years has been more subtle. If I had to characterize the chan-
ge, I would say I have become freer in what I want to express in a painting.
B.I.: Which Aikido master influenced you most?

H.K.: Yamada Sensei. He was my original teacher, and I still train with him every week at the New York Aikikai.
B.I.: In your opinion, what is the most important aspect of a class with a Shihan? Technique? Power?
Spirituality?
H.K.: These are inseparable. To emphasize any one over the others is a dualistic approach to training that creates an
unbalanced experience. Technique without spirit is mechanical and dead. Power without technique is destructive.
Spirituality without power is impotent.
B.I.: Do you consider art or Aikido your primary career?

H.K.: While they are both equally important in my life, Aikido has given me the opportunity to pursue my art on my own
terms.
Harvey Konigsberg Biography

Harvey Konigsberg was born in New York City in 1940. He attended New York University and the University of Miami
(Florida.) and currently lives in Woodstock, New York.
From his earliest years, Harvey was drawn to art and boxing, and developed a deep love for both. While still a teena-
ger he began his formal art training, and became a dedicated student of the sweet science, boxing. But Harveys art
career flourished almost from the start, demanding many more hours be spent in the studio. The result was he found less
and less time to devote to boxing.
Then in 1965, Harvey took his first class in Aikido with Yamada Sensei at the New York Aikikai and he has found the
time to train and teach classes there ever since. In fact, he has been so dedicated and talented a student, he attained the
rank of nanadan (7 Dan) in December of 2000.
To date, Harvey has managed to balance his art and martial arts careers. He has mounted more than twenty one-man
shows of his painting, and has taught at countless United States Aikido Federation (USAF) regional summer and winter
camps, and has been the featured instructor at seminars across North and South America.
Harveys connection to both the New York Aikikai and the USAF remains strong, and he has served as an officer in both
organizations since 1970.
In 1987, Harvey officially established Woodstock Aikido, where he is Chief Instructor.
Interview
Kali is a very versatile and old system of fighting that
includes empty hand as well as weapon training
methods. It is a devastating Art unto itself, but when
you add the Kyusho you become even more efficient,
effective and advanced in disabling an opponent. Kali
has always taught what is called "Gunting" for strikes
to weaker aspects of the arms, in volume #1 the
Kyusho added even greater potential and a
perfect starting point for the Kyusho or
Kali practitioner. Many arm
destruction methods were
demonstrated as well as
Kyusho Knockouts using only
the nerves of the arm. This
second volume expands
on these powerful Kyusho
targets by working from
the arm traps of volume
#1 and demonstrating
additional and even
more powerful head
targets for
incapacitation of the
opponent. This video
compilation will bring you
far more advanced skills,
even if you do not practice
Kali... the two methods were
meant for each other. Several
KO's are demonstrated so you can
see the efficiency and affect Kyusho
brings to Kali.
REF.: DVD/KYUSHO 25

pirat copy.
ORDERS:
Interview
Interview with Akuzawa Sensei
Pooz : I understand that you travel frequently in
response to the many requests from practitioners
and clubs wishing to discover your art. You will come
back this spring to promote the teaching of Aunkai
across Europe. You also travel regularly to France
and Hungary, and returned just recently from a trip to
New Zealand: it is apparent that the Aunkai values
have spread everywhere in the world. The goal of the
Pooz organization is to help young people who feel
lost as to what path their life should take. Thank you
for agreeing to answer our questions. We are
honored to meet you, and feel it is an excellent
opportunity to get to know you better, and to allow a
greater number of people to discover Aunkai.
Master Akuzawa : I think it is important to pay the

greatest attention to the various natural phenomena which
occur before our eyes. You need to feel the Providence,
and observation is the essential basis for understanding
martial arts. Learning by knowing oneself and knowing
others, in a mutual way, by sharing the same connection,
is why I teach Aunkai to my students.
I think it is important to pay
the greatest attention to the
various natural phenomena
which occur before our eyes.
You need to feel the
providence and observation is
the essential basis for
understanding martial arts.
Interview
If we are to
study the
movement of
human beings, I
think it is
necessary for us
to feel for
ourselves, our
origin and place
in nature.
P. : Sensei, those who have the privilege of meeting you

speak about your passion for nature. You were born in
Gunma (Japan), a region with beautiful mountains and I
believe it is well known for their "onsens", or hotsprings.
Was the simplicity of your art born from your observation of
nature?
M. A. : First of all, I have a great love for nature. Nature is not
a creation by man. And to understand this essence born of
Providence, is to me, very important. There are various styles
and schools of thoughts. If we are to study the movement of
human beings, I think it is necessary for us to feel for ourselves,
our origin and place in nature. It is my belief that it is very
important to pay careful attention to the various natural
phenomena which occur before our eyes. You need to feel the
providence, and to feel this providence, <observation is
essential, just as it is essential for understanding martial arts.>
P.: People often mention your victories in Sanda. What has

Sanda brought to you personally?
M.A .: Sanda is a sport. When you are young, building
experience is, in my opinion, is quite important to know oneself.
P.: What has led you to blaze this path in the world of
martial arts and to create Aunkai?
Interview
M.A.: I gained both knowledge and wisdom as I came to

understand the process lying within Martial Arts. So I started
the Aunkai, in order to pass on this wisdom, and continue
experimenting with my body as a medium.
P.: Why the change in direction from search to

transmission?
M.A.: If I am to pursue the deepest stretches of martial
arts, then I must pass through the process of guiding
people> which also means taking students. Otherwise, my
own evolution would be hindered. My goal is always
changing, evolving, and I guide my students through this
process <so that they may also create change for
themselves.
P.: Let's talk, Sensei, about the spirit of Aunkai.

M.A.: Aunkai is never ending, it is infinite. My students, as
well as my apprentices, achieve freedom <of body and
mind> through Aunkai.
P.: How do you define Aunkai?

M.A.: The concept of Aunkai is to empower the body to
experience oneself forging the true nature of martial arts,
through profound experiences. Then through this process,
<like a tattoo, artfully created from the inside out> (Sensei
Interview
has used this metaphor before, and it might be easier to

understand here), allow the inner connections to make their
way to the surface.
When we are young, what we see in front of us, such
as physical activity and training appear to be important.
But as we age, our thinking changes, and so does our
perspective on a great many things.
P.: What state of mind should we have on a day-to-day

basis in order to improve?
M.A.: To improve in martial arts is to rid oneself of habits.
It is not a mathematical formula where you can simply
add to obtain the results you want. A true martial art is not
based in mathematics. Rather, it is the opposite. Simply
hone your awareness and remove habits if you wish to
pursue a martial arts. <When a person does something
naturally, they dont think about it, they dont ponder about
the right or wrong way to do something, they simply do it.
>This means, the intent behind martial arts is to better
harness our subconsciousand embed skills into our body,
so that we can recall them naturally. The Aunkai concept is
the construction of the inner self which is reflected on
theoutside.
The Aunkai
concept is the
construction of the
inner self which is
reflected on the
outside.
Interview
P.: What can Aunkai bring to practitioners ofother

arts? And to someone who is discovering martial
arts?
M.A.: Aunkai is different from other modern martial
sports in that we teach how to control the body in an
unusual way, a more efficient way that is not immediately
apparent. For me, a persons posture is of paramount
importance since it reflects the inner essence of ones
character and being, both physically and mentally. In fact,
the very way you move the body is a result of
understanding and creating a cohesive posture. So, I
take teaching posture very seriously and delve deep into
the subject. Organizing the body for martial arts is
different from the training harder is better perspective
that we often associate with modern day sports. Martial
arts are steeped in Praja (wisdom). Praja is different from
knowledge that is simply added and memorized.
Wisdom is to take a singular principle of body
movement, yet have the ability to apply it seamlessly in
a myriad of different ways. This must be present in
training at all times, and repeated many times in order
to be effective.
Aunkai is different
from other modern
martial sports in that
we teach how to
control the body in an
unusual way, a more
efficient way that is not
immediately apparent.
Interview
P.: Your answer leads me, if you do not mindSensei, to talk about practice. Some
say that when one discovers a keiko, the sobriety of tanrens may seem hermetic.
What would you say to change this view?
M.A.: Aunkai is a martial art without boundaries: Why ?
When we are young,physical activity and training are crucial elements, but as we get
older were bound to change our way of thinking and have a more subjective vision.
Do I love nature? Martial arts is not about the flowers, leaves or branches that we see in
front of us. It is about the trunk and the roots.
P.: So what would be a good practice session be in the Aunkai? Why?
M.A.: Training is an exercise which aims to change the body, <its sinew, tendons,
membrane and muscle>. Then there is another kind of training, training through
repetition. Tanren is a cumulative discipline involving adaptation and time. <Each session
of tanren is different, as one continuously changes their practice bit by bit> Practice is
awareness, <awareness of the body, of its workings, its physical and mental interactions,
which eventually brings forth understanding> . The very same word may hold different
meanings for different people. . Good training should
change not only the body physically, but the mind as well; having both be affected is very
important.
P.: What is necessary in order to improve?

M.A.: To improve, the understanding of basic concepts as well as thorough
training are the only solutions. And know that repeating ones training deliberately, and
maintaining the desire to continue over the long term are much much harder than they
appear to be. If one truly wants to improve, it is important to integrate what one has
learned in martial arts, that is the wisdom gained through their practice, into everyday life.
<The way one sits down, walks, holds a cup, or interacts with others and more - must be
a seamless medley of ones training and realizations> In order for this wisdom to create
different ways of using the body, it must be present at all times in Aunkai training, and
repeated many times in order to bear fruit.
P.: Does Aunkai make you stronger?

M.A.: What will determine if a person will become strong through Aunkai is their level of
commitment to the training. The strength is expressed in the flexibility of the mind or in
one's postures. People who study Aunkai are able to create space within themselves, and
thereby free their mind.
P.: You talk a lot about the need of working on oneself. How does Aunkai
transform people on the inside?
M.A.: How does Aunkai change people from the inside? They become friendly (laughs).
If they become friendly, they become strong. It is a way of capturing the emotions with
the heart.
P.: The Po'oz Association has as its vocation to help young people find their way
in life. We believe that practicing Aunkai can help them. What do you think?
M.A.: Martial arts in this sense sometimes resemble a religious experience. This means,
one must accept not only one's own weaknesses, but also one's mind and feelings.
Interview
During an Aunkai session, your consciousness meets

your subconscious <bringing about change on a
profound level>. And this is a very important experience.
I think it would be wonderful for your association and for
myself as my ideas are able to spread.
P.: Aunkai is a young art but it has ancient roots.

You tell your practitioners that it is not rigid and that
it grows with your research. Since its beginnings, it
has become more refined, what will be its evolution?
Towards which steps will your constant search for
the perfection of the art you created guide you?
M.A.: I created Aunkai 15 years ago with my
knowledge about traditional martial arts as well as what I
learned from them. My personal research has resulted in
more variety in its usage. Since the past and present are
completely different, the context is not the same.
However, manners and behaviors befitting upstanding
people are human traits that do not change.
My evolution is the result of the passing of years and
my mind being in harmony with my body. I feel that my
evolution in the Aunkai has became very deep. I do not
expect to become perfect, since perfection in people is
impossible. I dont attempt to attain the impossible. So,
what is it that motivates me? The wisdom I have
obtained thus far has enabled me to continue to have
fun. In my opinion, everybody
can have fun discovering things they dont know, and
this discovery is what maintains our drive even into later
stages of life.
Aunkai, at its current stage, is not yet common.
Learning by knowing oneself and knowing others, in a
mutual way, and sharing this connection, is why I teach
Aunkai to my students. I think Aunkai is really very fun
(laughs).
P: Thank you, Master for your cooperation. It was a

pleasure and an honor to share with you. See you
soon in Europe!
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

pirat copy.
ORDERS:
The
100 Belt
Pro j e c t
Get Involved!
My name is Don Warrener and I am a and there are no child black belts. Sylvio told Please post a photo of you and your stu-
Canadian karate bum now living in Brazil. me that, in some cases, their most valuable dents with the belts being donated to my Face-
I have a friend here Jiu Jitsu Master Sylvio possession is their Jiu Jitsu uniform. Many of book page at https://www.facebook.com/don.
Behring who recently invited me to a school these young people get promoted to a differ- warrener
of his for a grading in the favela (ghetto) just ent belt color and dont even receive the belt Thank you very much Muito obrigardo
outside Rio. There were well over 100 students because they can not afford it. meu amiga, amigos!
waiting for Sylvio with huge smiles on their This is the real Rio! I was in shock.!
faces. He is only able to get there once every 6
months because it is so far out of the area. The How You Can Help Don Warrener is
President of Warrener
area is one of poverty and crime, so his driver I decided to create The 100 Belt Project, Entertainment. He be-
carries a gun, just to be safe. which involves the donation of 100 belts to gan his karate training
As they started training, I saw a girl col- this deserving dojo. These belts will get cir- in 1966 in Hamilton,
lapse off to the left. People rushed to her aid culated from one child to another for years to Canada under Benny
and I soon discovered that she had collapsed come, ensuring that each young person can Allen; he trained under
because she had not eaten all day; not out of Sensei Richard Kim for
wear the belt they rightfully earned. decades until Kims death
choice but because she had no food. Then a All colors and sizes are needed... and, yes and was promoted to
teenage boy went down and, believe it or not, black belts, as well. I witnessed a black belt 8th dan by the Father
another one went down. In total, four kids col- grading where the black belt was very old and of Canadian Karate
lapsed and had to be revived. I was shaken to used, and probably handed down three or Masami Tsuruoka in 2008. Mr. Warrener has writ-
the very core. The girl was taken to a hospital; ten numerous books, hundreds of articles and pro-
four times already. duced hundreds of martial arts video productions.
the others just left the class. My friend told me You might think that purchasing and do-
this was very common in this area of Brazil. donrw@warrenerentertainment.com
nating 100 belts is the answer. However, send-
He then told me that these young people do ing used belts with all the pride and sweat
not pay for gradings or instruction; the church infused from our own students to be passed
in which they train is provided free of charge. with friendship and comradery to these Bra-
This is all they have, their martial art. zilian kids just means so much more! Please send your donated belts to:
Uniforms are donated or are hand me Please make an announcement at the end Alfonso Camerotte
downs. Most train four times a week for 90 of your classes about The 100 Belt Project, Rua Gustavo Coro, 784
minutes each class. They have nothing else. and ask your students to support this worth- Recreio dos Bandeirantes,
Attaining a black belt is just a dream for while endeavor by donating their old belts. Rio de Janeiro - RJ, 22790-150,
these young practitioners, because on aver- Our goal could be met in a very short time. Brasil
age it takes them 6 years to achieve a black belt Remember: no new belts, only used ones.
Kung Fu
Chinatour 2018
Viele Kung Fu Fans in der westli-

chen Welt, darunter auch Lehrer
und Schulleiter, sind heute noch der
Ansicht, dass die wahre Kampfkunst
im Zentrum Chinas liegt. Sie denken,
dass die weisen Mnche in uralten
Klstern, auf die pilgernden Schler
aus dem Westen warten. Wer sich
mit der Geschichte Chinas und derje-
nigen des Kung Fu befasst, weiss,
dass seit der Kulturrevolution und
den Jahren von Mao Tse Tung, die
wahren Nachfolger von Shaolin,
alteingesessene Meister, welche oft
in Hong Kong zu finden waren, das
Land damals verlassen hatten und in
umliegende Lnder oder gar in den
Westen geflchtet sind. Seit
Jahrzehnten ist die wahre
Kampfkunst, vor allem Hung Gar
Kung Fu, welche als wahrer
Nachfolger des Sd Shaolins gilt,
im Westen zu finden.
Kung Fu
anche vertreten die Meinung,
M dass richtige, ursprngliche

Kung Fu Schulen, bzw. Meister,
in China zu finden sind. Ich
sage, Kung Fu stammt
ursprnglich aus China, das ist
korrekt. So, wie man den Schweizer n die
Erfindung hoch- wertiger Uhren, nachsagt. Wir alle
wissen jedoch, dass Uhren lngst globale
Produkte sind und alle Lnder ihr eigenes
Wissen dazu beigetragen haben. So auch
beim Kung Fu. Die wahren Meister
sind wie erwhnt, lngst aus China
aus- gewandert und haben sich aus
verschiedensten Grnden, auf der
ganzen Welt niedergelassen. So auch
mein Meister, Kung Fu Legende und
Vertreter einer der berhmtesten Linien
aus Shaolin: Chiu Chi Ling, 10. Dan.
China bemht sich mit zahlreichen
Klstern und Schulen darum, das Bild
des Kung Fu Erfinders aufrecht zu
erhalten. Wie man anhand der
allgemeinen Meinung der Bevlkerung
entnehmen kann, mit Erfolg. Doch wer kann
ihnen das bel nehmen? Genau diese Meinung
der breiten Bevlkerung, teils auch meiner
Schler, ist der Grund, weshalb wir regelmssig
eine sogenannte Chinatour fr unsere Schler
organisieren. Mir ist es nicht nur wichtig, dass
jeder meiner SchwarzgurtTrger in seiner
Laufbahn, mindestens einmal am Ursprungsort
unserer Kampfkunst war, sondern auch, dass
meine Schler einen Vergleich zwischen
unserem Knnen und demjenigen der
Chinesen ziehen knnen. ber die
Beziehungen meines Lehrers, werden wir in
diese Klster eingeladen, um unser Knnen
vorzufhren und sich mit den anderen
auszutauschen. Ein Fazit meines Schlers,
welcher schon mehrmals dabei war: Es luft
in jedem Kloster und jeder Schule fast
identisch ab. Sobald wir mit den Vorfhrungen
starten, kann man sehen, wie den
chinesischen Schler n/Mnchen die
Gesichtszge entgleiten. Nach unseren
Darbietungen zeigen sie uns ebenfalls
komplexe und optisch eindrckliche
Kung Fu
Kung Fu
Grandes Maestros
Waffenformen. Bei unseren Waffenformen zeigen wir zustzlich Anwendungen und Partnerformen, wovon die
meisten Zuschauer keine Kenntnisse besitzen. Es ist fr mich immer wieder sehr eindrcklich zu sehen, dass
wir besser sind und dass Sifu richtig liegt, wenn er dies jeweils behauptet.
Es ist mir ein Anliegen, dass dieser Text richtig verstanden wird. Es geht hier nicht darum, jemanden
hervorzuheben oder schlechter dastehen zu lassen, sondern lediglich darum, die Illusion zu korrigieren, dass
echtes Kung Fu immer noch in China zu finden ist. Zweifelsohne sind die zu findenden Schulen sehr gut in
Shaolin Shows und akrobatischen Darbietungen; haben jedoch mit der traditionellen Kampfkunst aus ihren
eigenen Klstern, nicht mehr viel gemeinsam. Aber wie erwhnt, das selber zu sehen und mitzuerleben, ist mir
fr meine Schler sehr wichtig. Abgesehen davon, bietet Hong Kong eine exzellente Atmosphre fr ein
intensives Herbstlager, mit durchschnittlich 6 Stunden Lektionen pro Tag. Ebenso wertvoll ist die gemeinsame
Zeit fr unsere Gemein- schaft, fernab von Ablenkung wie TV, Internet und anderen sozialen Medien. Wie
bereits in anderen Artikeln erwhnt, werden wir uns im 2017, fr die Teilnahme der neuen, grossen Chinatour
2018 vorbereiten. Mein Sifu und ich haben vorgngig darber gesprochen, wie wir den Event noch effizienter
und besser fr die Teilnehmer gestalten knnen. Da gibt es einiges, was wir noch definieren mssen. Mit
Kung Fu
Grandes Maestros
Sicherheit wissen wir, dass wieder ein Turnier durchgefhrt und das Bruce Lee Museum besucht werden wird. Dazu mchte
ich erwhnen, dass in diesem Museum, ein Schler meines Lehrers, Hung Gar Kung Fu unterrichtet und die Verantwortung
diesbezglich dort trgt.
Meinem Sifu ist es ein grosses Anliegen, wie er mir bei unserem letzten Treffen mitteilte, dass er mir alle wichtigen und
verantwortlichen Personen in China/ Hong Kong vorzustellen, sodass ich die Organisation fr die nchste Tour, fr unsere
weltweite Kung Fu Familie, bernehmen kann. Dies ist natrlich eine grosse Ehre fr mich, als sein Stilnachfolger. Um die
Wahrheit zu sagen, versucht mein Sifu schon lange, mir gewisse Verantwortungen abzugeben. Unter anderem auch die
Abnahme der MeistergradPrfungen seiner Schler, welche oft whrend solchen Touren in Asien, stattfinden. Bis jetzt habe
ich mich immer etwas dagegen gewehrt, weil ich der Meinung bin, dass mein Sifu, solange er unter uns ist, diese wichtigen
Angelegenheiten, durchfhren soll. Schon aus Prestigegrnden gegenber den Schlern. Aber wie auch bei der
ShaolinTour, werde ich mich langfristig nicht drcken knnen, eines Tages auch diese Verantwortung zu bernehmen. Auf
jeden Fall, freue ich mich jetzt schon sehr auf die Chinatour 2018 und rate all meinen Schlern und Lesern, sich darauf
vorzubereiten. Die Reise ist natrlich mit Kosten verbunden. Ein Flug nach Asien ist nicht ganz gnstig und wir werden dort
einiges vorhaben. Geplant sind unter anderem: Besuch des Wong Fei Hung Museums, Besuch Wong Fei Hung
Lwentanzschule, Besuch Chin Woo Schule Foshan, Bruce Lee Museum, Turnier und eventuell ein weiterer Filmdreh. Hinzu
kommen zahlreiche, gemeinsame Mahlzeiten, bei denen wir uns mit Kung FuBrdern und Schwestern austauschen und
unterhalten knnen, Seminare und Lektionen, welche unter der Leitung meines Sifu stehen und bei welchen wir gemeinsam
von ihm lernen knnen. Werden auch Du und Deine Schule dabei sein?
Significant texts from the book of Shidoshi Alfredo Tucci
Significant texts from the book Consonance and emptiness. The way of the warrior and the spirit.
of Shidoshi Alfredo Tucci.
If everything in the Universe was vibrating in

specific tones, ancient Miryoku shamans
discovered that before touching whatever thing, it
was essential to identify first its frequency and
then get in tune with it.
Miryoku sages, by their discipline and unmatched

courage, were no doubt true spiritual warriors. To
all of them, from the past and from the future, I
dedicate this book and I greet placing my forehead
respectfully on the ground.
The Sage, finally, loves without wanting to

possess; he loves because he chooses to love, and
he chooses merging and transcending because he
knows both his smallness and his greatness. He
loves because only then he will add his strength to
the Great Strength that everything and all of us
share, dissolving the useless attributes of our
being, without disappearing sterile and useless all
the power and the experience of his spirit, which
returns home comforted, knowing now that he
never left.
Consonance and emptiness
When things reach their limits, they only have one way to
follow and it is that of going on to its opposite. The times
of the old East-West dichotomy have gone, as well as
those of Communism vs. Capitalism, man and woman, and
so on.
One of my masters taught me that nature does not make

mistakes; fighting its relentless and ruthless judgment
will not change reality. The truth is stubborn and it's
always wiser trying to understand its mechanisms than
judging them emotionally.
The recurring problem is that we stand

on a point and from there we want to
judge everything to draw out a universal
truth and then apply it ten minutes
later, when we are no more on that
point.
Fate is like a juicer that extracts what

we have inside; our freedom really lies in
the way we react to its suggestions, to
its proposals and even and especially to
its impositions.
In the paradoxical Universe that
surrounds the mystery of life and
consciousness, is so true that we carve
our destiny as it is that destiny itself
will determine severely its purposes.
"The universe we inhabit acts according to patterns and
laws necessarily paradoxical, but determinable. Within the
Chaos there exists an order, within the order there acts
the Chaos."
Admiring the imperfect is a consciousness trick, but it's

also a way to imitate and follow the dictates of the
natural way. Nature abhors what is pure, equal,
symmetrical, and even though it repeats the patterns
that underlie behind higher laws (pi number pi, fi number,
etc.) it never repeats exactly nothing.
We can't hide behind determinism without falling into

stagnation or ending up in nihilism, as well as we can't
consider that all depends on our decisions without falling
in arrogance or total blindness.
"Fate crowns the bolder... or destroys him, but it never

stays indifferent to the actions of those who justly decide
to collaborate in its achievement. Like everything great,
destiny doesn't respond to those who call at its door with
a halved, mean, or miserable spirit."
"Great truths, urgencies, pile up before us taking shelter

in explanations, in self-sustained speeches, in the
emergency of the immediate; the peremptory fills up
beyond even its own reality and necessity."
In the haven of peace of thoughts, the Being grows;
vaporous, light as water, it occupies everything
effortlessly, without intention. It continuously changes its
place and its reasons, gliding smoothly like the river water
caresses the sand.
"Most of us don't see or don't want to see, because we
fear the unknown, or because we are unable to overcome
the catalog of all the material that took us so many
efforts and time to build."
"The spiritual world, as the physical world, is not what we

want it to be, but what it is. All kind of forces, energies,
consciousness and tensions make up an "omnium-
gatherum" wove into layers substantiated by their own
nature, changing, ambiguous, in harmony or in conflict."
"It is surprising that the recurring theme of good and evil
keeps being regurgitated in every generation, as if the
matter were so thick that required the stomach of a
ruminant rather than that of a human for its digestion."
The border between good and evil dissolves when is seen

beyond space-time; what was good yesterday is wrong
today; what is evil there, here is good... an argument
hardly acceptable for small souls, which, in their need to
be subdued, want to subdue everything, thus achieving
unfailingly and always the opposite of what they pursue.
Better than me, as the saying goes: The road to hell is
paved with good intentions!
If we systematically deny any possibility that escapes the

admissible by the first attention, we will be closing what
might be the main door of our vital experience.
Watch out! Not denying doesn't mean 'believing'! For

nothing is more necessary in the exploration of the
spiritual that the sense of 'non credo', empiricism,
pragmatism and, above all, soberness. These are the
three ingredients of lucidity, the great attribute of the
traveler of the ineffable.
"I think there is no true martial mastery without

compassion. The absence of it is the only thing that allows
the inner monster win the battle and the horror outcrop."
"Every initiation is like entering a funnel, like passing

through a sieve increasingly finer, subjecting our being to
a decantation. Unavoidably, snippets of our being are left
on the road, disposable rags that must be relegated
because they become a burden, because they've already
fulfilled their task, or because they are unacceptable in
the upper plane we want to access."
We suffer because we lack something; because we are

afraid to lose what we have; because we have something
that looked good, but it turned out to be not so good; or
because we have something we can't get rid of.
Nothing replaces the consciousness of being and

understanding; that's why the authentic path must force
the transformation of consciousness enabling us to die to
what we are, so that we can be born to what we are not;
in this transit, pain is not negotiable, but suffering is.
"Alice crossed the mirror, but we all can do it, because

achieving that, lies among our assignments and
potentials.
We are spiritual beings having a material existence and
not the other way round."
Surprise!!! Everything you blindly believe, fruit of your
senses and your apprenticeship, may not exist in that
form beyond the particular own subjection of your
description of things.
We all serve something greater than ourselves;

consciously or unconsciously we are part of something
bigger that feeds on us as we feed on other things.
The invisible is acting behind every breath; it exists

concealed, doing without doing. The sage sooner or later
is bound to have that encounter with the mystery.
Life is a sacred path, not a sequence of linear events.

But above all, life is what we choose that it be, because
everyone can fool himself about it or get lost in it as he
pleases.
Each option has its price, each decision its consequence,
each front has its back and each stage its play.
Respect means also understanding that everything that

exists is necessary even though we dislike it. Respect
does not necessarily mean having to exist side by side
with it; accepting does not mean letting it touch you.
Our personal times are nevertheless small; life is just a

breeze; seeing beyond, avail ourselves of every moment to
meet higher processes in our individual evolution, is the
best response to the cons we live, because at this level
there's no way out: Nobody gets out of life alive.
Extreme selfishness justifies anything and positions itself

as the only commandment and value of post-industrial
societies; anything goes, economic success is glorified as
the only reason, it doesn't matter at the expense of what,
or how.
We are all made of the same stuff; we are vibrant cumuli
of energy and consciousness that possess a unique path:
the one of the spirit that nurtures them and enlivens
them.
Conceited is the man who believes himself indispensable,

but equally stupid is the one who scorns himself before
his determination and destiny.
For me, the spiritual world, the realm of the invisible, is

a grandiose dimension, the real border to be crossed and
the only one that is able to summon what is human in its
true dimension.
Knowing something in depth definitely means loving that

thing, so, and given that a culture is distinguished and
built from the forms, these also constitute an inalienable
asset. When you go to Rome you just have to look Roman;
otherwise you know where the
door is.
The religiously oriented

person believes by faith in a
particular arrangement of the
invisible world. The scientist
believes ... by faith, in his
method. To the student of
spirituality there are,
however, two ways, the
development of mediumship,
i.e., the sensory
perception of the
invisible, and / or the
study and direct and
personal interaction
with the planes of the
invisible.
The mind is essentially a biological piece of junk and feeds
on sensations that it frames meticulously into groups of
associations.
Meanwhile, if we live long enough to become truly wise,

sooner or later we will finally unmask that impostor, that
upstart and junk dealer of consciousness, such is the
mind.
Consonance and
When the Way of the W
emptiness
Warrior reaches spirituality!
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

pirat copy.
ORDERS:
The Meaning of the Black Belt
(MISSION STATEMENT OF THE WORLD HWA
RANG DO ASSOCIATION)
HWA RANG DO:
A legacy of Loyalty, Relentlessly seeking Truth,
Empowering Lives, Serving Humanity
We can find two main targets

for the students into Hwa Rang
Do: the 1st dan Tae Soo Do
(introductory art to Hwa Rang
Do) black belt and the
subsequent 1st dan Hwa Rang
Do black sash.
The 1st dan Tae Soo Do black
belt is the time for the student
to finish the introductory
syllabus and start to study of
the complex and comprehensive
Hwa Rang Do syllabus.
he 1st dan Hwa Rang Do
T
black sash is a huge step, the
basic technical program of Hwa
Rang Do has been finished
and you can get the title of
Hwarang knight so you can start
to study the advanced martial techniques of
the Art.
Both the exams are hard and lasts for
days. The 1st dan Tae Soo Do black belt
Test is made of at least 3 pre-test that are
to be performed in many months. In each
pre-test many different instructors evaluate
the level reached by the student, his
physical and technical performances. The
1st dan Hwa Rang Do black sash Test
requires the participation in at least one
week long full-immersion seminars with Do
Joo Nim Dr. Joo Bang Lee (Founder and
Hwa Rang Do 10th dan) e con Kuk Sa Nim
Taejoon Lee (Grandmaster and Hwa Rang
Do 8th dan), then for many hours the tested
student has to show techniques, forms
and several fighting skills.
Of course in both tests many theoretical
elements are evaluated (such as hwarang
history and Korean etiquette) by means of
written and oral exercises. But, why these
tests are so hard? The 1st dan Tae Soo
Do black belt Test has the purpose to
make the student understand what really
means to enter the traditional world of
Hwa Rang Do so its important to test his
motivation (studying Hwa Rang Do is
really hard and the student has to be self-
motivated). For the 1st dan Hwa Rang
Do black sash Test, the title of Hwarang
means that the student is going to be a
leader, an example, so an instructor for
other students. From this point of view he
has to be ready to integrate into his life all
the Hwa Rang Do theoretical and
technical issues. He has to understand the
deep meaning of that change in his life and
the test is made for that.
About the author: Su Suk Sa Bum Nim
Marco Mattiucci Hwa Rang Do 4th dan
and Chief of the Italian Branch of the World
Hwa Rang Do Association.
This DVD is the result promoted by the Spanish subsidiary
of the Zen Nihon Toyama-Ryu Iaido Renmei (ZNTIR - Spain
Branch), to publicize the technical content of the Toyama-
Ryu style as practiced in the ZNTIR Honbu Dojo in Machida,
Tokyo, unchanged, with no alterations. The loyalty of the
program is such that is its president and maximum technical
manager, Yoshitoki Hataya Sensei, who, accompanied by
some members, executes personally the entire compendium
of the current style program. In him you can find the basic
structure of the methodology that is applied, from
the coded exercises of warming up and
preparation and through the cutting
exercises; the guards; the school
Katas, including those
corresponding to the Toyama
Army Academy, the Gunto Soho
and its explanation; work in
pairs, both in Kumitachi and
Gekken Kumitachi, and the
cornerstone on which the
Toyama-Ryu is based, i.e.,
Tameshigiri or cutting
exercises on a real target.
Zen Nihon Toyama-Ryu Iai-
Do Renmei (ZNTIR) is the
body that currently - once
reviewed and adapted the
concepts and methodology
of a school that comes from a
method of actual combat -
intends to maintain alive this
tradition and the original forms
through a system that unifies body,
mind and spirit in a realistic and
effective way. Thanks to the commitment
of a few graduates of the Toyama Army
Academy (Rikugun Toyama Gakko), who
continued secretly keeping alive the art until the lifting of the
bans and the return of sovereignty to the Japanese people,
today can learn a fencing style framed among the current
schools of Iai-Do. This is a meticulous DVD in different
languages, which proves to be a valuable source for
researchers and practitioners of Japanese sword, and for
martial artists in general or interested in the history of Japan
and its last world war. It's a real stroke of luck being able to
observe the techniques it contains, and at least for serious
REF.: DVD/TOYAMA-2 researchers, is well worth having it in your video library. We
practitioners of the style want to share loyally the knowledge
of our Japanese fencing school, in the hope that at the same
time, the own inter nal values of those armed men
impregnate the new generations and allow to glimpse a
revulsive, in a traditionally way very different from the current
approach to combat disciplines of Japanese origin.

pirat copy.
ORDERS:
Krav Maga
CKM UNIVERSITY ONLINE Anywere! anytime!
COMMANDO KRAV MAGA (CKM)
Israeli Defense Forces along with military units in the United

States and around the world are constantly deployed in counter-
terrorist operations. Law Enforcement agencies have an inherent
need for a non-competitive tactical self-defense system.
Commando Krav Maga (CKM) uses a wide combination of techni-
ques for combat survival and self-defense which make it the most
devastating Israeli fighting system in the world!
Commando Krav Maga (CKM) is the fastest growing reality
based system on the planet. Its popularity is driven by a comple-
xity of interwoven simplistic training methods progressively laye-
red to create efficient biomechanical pathways which allow any
Man or woman to develop tactical skills at an accelerated pace.
Considered by many experts to be the most advanced Israeli
hand-to-hand combat system in existence, CKM has changed the
way expert instructors and combat professionals have come to
view the art of modern personal defense preparation for real-
world attacks. CKM has created widespread appeal through its
proven effectiveness in close quarters battle, but more important
is the constant push to adapt and raise the bar on what is possi-
ble for CKM followers to achieve in the most impossible situations.
The psychology of confrontation (pre and post attacks). Mindset
needed to face extreme violence. Techniques taught to elite com-
mando units and SWAT teams as well as thousands of everyday
civilians around the world.
How to defeat any attackers including those armed with guns,
knives, clubs, bottles, bats, etc. Survive any brutal attack on the
ground. Escape from chokes and holds. Use tactical defense
against strikes. Control or debilitate your opponent immediately
irrespective of their size or martial arts background with no-non-
sense CKM concepts. Execute crucial and straightforward moves
saving your life and the lives of your loved ones. Become an effec-
tive hand-to-hand combat expert!
Acquire the tools and knowledge to get into your best physical
and mental shape.
Krav Maga
Highly Effective and Easy to Learn Reality-Based

Training
Gun & Rifle Disarming, Vicious Knife Attacks and Threats, Violent
Strangulation, Ground Survival, Fast and Brutal Striking Scenarios,
Pressure Points, Violent Headlocks, Explosive Baseball Bat Attacks, Clinch
Defense, Surprise Attacks, Escape from Unexpected Street-holds,
Improvised Weapons, Crime and Terrorism Survival Skills, Grappling and
Striking techniques ,Pre and Post Conflict Tactics, Commando Training
Tips and much more!
While practicing the CKM tactics and techniques, you are also taught to
understand the psychological and mental aspects of the attack.
To maximize your street survival skills so you can perform under stress,
CKM drills are progressive. You start training slowly and precisely (in some
cases even blind-folded) so that the tactics and techniques are built into
your muscle memory and become part of you. You gradually increase the
amount of pressure in your training to include balance, psychology, non-
cooperative attackers, multiple attackers and the adrenaline factor. We
train as realistically as possible while always keeping safety in mind.
As you progress in Commando Krav Maga, the level of intensity becomes
increasingly demanding both physically and mentally. Through advanced
training, you will gain the skill and self-confidence to effectively survive any
confrontation.
Progression
In Commando Krav Maga there are a total of 10 Levels. You can progress
from levels 1-8 either as a certified CKM Instructor or as a CKM student.
The grading requirements are different for instructors and students, and
offered as separate programs.
Levels 9 and 10 are designed to continuously develop and improve the
Commando Krav Maga system which emphasizes that CKM is constantly
evolving. These two levels are exclusively reserved to the highest level
CKM Instructors specifically invited by CKM Founder, Moni Aizik.
While practicing the CKM

tactics and techniques, you are
also taught to understand the
psychological and mental aspects
of the attack.
Israeli Fighting Systems

The modern history of Israeli fighting systems dates back to 1919, with the
implementation of the British Mandate. It was in that year the Jewish people for-
med an underground army known as the Haganah (Hebrew for defense) to deal
with the ongoing conflict with various terrorist gangs, and in anticipation of the
creation of a Jewish state promised to them by the British in the Balfour
Declaration. Throughout its existence since that time, the little region in the
Middle East now known as Israel has had to fight daily in order to survive.
Completely surrounded by enemies under the most hostile circumstances,
Israel has always been outnumbered in its battles. In response to continuous
overwhelming odds, the Israelis developed systems of combat that emphasized
mental toughness, versatility, innovation, and practicality at its core.
The formalities of traditional defense systems were abandoned in favor of
methodologies that valued rapid and instinctive learning. These philosophies
helped Israel and its citizens to survive in the face of constant aggression as the
nation formed one of the most respected military forces in the world with the
Israeli Defense Forces (IDF). Faced with warfare and terrorism, the Israeli mili-
tary developed combat systems named Krav Maga (Krav = fighting; Maga =
contact) that were extremely practical in the battlefield.
Israeli fighting systems have been successfully used for decades by Israeli
Special Forces, FBI, high-profile bodyguards, counter-terrorist police units, and
SWAT units from around the world.
Commando Krav Maga (CKM)
Commando Krav Maga (CKM) is considered by many experts to be the most
evolved and effective Israeli Hand to hand combat system in world. Founded by
Moni Aizik, a former Elite Commando of the Israeli Special Forces, Commando
Krav Maga is the ultimate reality-based system engineered for the most brutal
and vicious street confrontations. With its no-nonsense approach and straight-
forward practical moves, CKM prepares you for the unexpected with techni-
ques that can be utilized effectively under pressure. Commando Krav Maga is
not a traditional or sport-based martial art. There are no competitions, rules or
regulations. Instead, CKM is a reality-based system designed for the primary
goal of survival.
Krav Maga
CKM Concepts out a knife or his friends may jump in. In CKM, you are trai-
ned to get up in 5 seconds or less from any devastating
Combat in the street is completely unpredictable. There ground attacks including ground and pound, submissions
are no rules. There are no referees the fighting has no limi- or lethal weapons. Once youre up, the goal is to disenga-
tations. Most important there is no honor code and any- ge to safety rather than trying to punish the attacker.
thing can happen.
The attacker might pull a gun, a knife, or have friends that The What-Ifs!
viciously swarm you. Thugs and criminals are capable of
stooping to any subhuman extent. In order to train realistically, you need to implement the
The CKM SolutionThink like a Commando. Engage the what-if mindset by putting yourself in the attackers shoes.
enemy only if there is no other choice, but if you must then As the street is unpredictable, you need to consider the dif-
exploit his weaknesses to create maximum damage as ferent variables. What if the attacker is bigger, stronger or
quickly as possible. Then rapidly disengage before a wea- faster? What if the attacker moves from one attack to
pon is introduced or his friends come to jump in. The goal another? What if the attackers friends jump in to help
is simpleSurvive. This is the reality of the street. him? What if the attacker is carrying a concealed wea-
Commando Krav Magas (CKM) highly effective tactics pon? By internalizing the CKM what-if mentality, you will
and techniques are built upon a foundation of key survival develop the proper mindset to always prepare for the worst!
concepts:
Once you understand the key concepts and apply them Adaptation!
along with Commando Krav Magas no-nonsense street
tactics, you have a much greater chance for survival.
In Commando Krav Maga, you are trained to adapt
quickly to the changing environment under the most realis-
Engage/Disengage! tic scenarios. After perfecting your tactics and techniques
through progressive practice, you must test yourself under
In a street fight there are no rules or referee stoppages. the most stressful and dynamic conditions. One of the best
Staying engaged with your attacker and trying to punish methods of developing effective instinctive reaction is
them can be fatal. At any time the attacker can pull out a implementing CKM surprise attacks into your training.
concealed weapon or their friends could jump in. This is Simplicity is Genius!
why one of the key concepts in CKM is to disengage whe- Any technique that requires more than two gross motor
never you can, but if you have no choice, immediately skills is extremely difficult to perform under stress. In
engage to create as much damage as quickly as possible Commando Krav Maga, most of the tactics were designed
then disengage to safety. to be simple and universal so that you dont have to think
about the move under stress. They work regardless of the
Maximum Damage/Minimum Time! direction of the attack or size of the attacker.
Although the tactics and techniques in CKM are simple to
Further building on the concept of Engage/Disengage, perform, it took many years of research and field testing to
CKM tactics and techniques are designed to inflict the refine and evolve CKM to where it is today. Think of a clock:
maximum amount of damage in the minimum amount of simple on the face but when you look inside, you will see
time during a life-threatening confrontation. You are trained how many detailed and intricate parts it takes to make the
to debilitate the attacker with devastating street tactics that clock move. This is symbolic of the ingenuity behind CKMs
will ensure your survival. simple and highly technical yet straightforward tactics.
5 Seconds Rule!
In CKM, you are taught Ground Survival rather than
Ground Fighting. No matter how superior your grappling
skills, staying on the ground during a street confrontation
can be fatal. Unlike an MMA (Mixed Martial Arts) ring, the
streets are unpredictable. Your attacker can suddenly pull
Krav Maga
Ethical
In CKM, the intention in any conflict situation is to find an honorable path towards a peace-
ful resolution. CKM is all about avoiding the fight. Violence is the absolute last resort. CKM
always gives the aggressor a chance to save face, an honorable solution as a way out, without
ever compromising his own sense of self esteem. Your body should say,I dont want to fight,
while your eyes are saying, watch out.
Many times, a fight is all about somebodys ego, either theirs or ours. CKM knows that figh-
ting is mostly avoidable and as such its practitioners do their best to deescalate any situation
that could turn violent. Every practitioner of CKM seeks to dissolve his own individual ego
through intense training and introspection.
Because every CKM technique is potentially lethal, CKM insists that its practitioners respect
every other human being, regardless of race, religion or gender.
Therefore, the fundamental CKM principle is this: No first use of force.
Pragmatic
The second principle of CKM is this: While negotiating for peace, prepare for war. CKM evol-
ved in the hostile environment of the Middle East. So, CKM intrinsically is a mature and prag-
matic body of knowledge. Though every CKM practitioner does his best to deescalate the con-
flict, CKM is not oblivious to the fact that there are many unintelligent people out there who
might mistake a desire for peace as weakness. So, even as CKM tries to negotiate a honora-
ble peace with the aggressor, the CKM practitioner instantly begins to prepare for combat.
The CKM starting stance for instance conceals far more than it reveals. If there is going to
be any kind of fighting, the opponent will know nothing about what the CKM practitioner
knows. This allows CKM to launch the most devastating counter attacks from what looks like
an innocuous position. CKM practitioners are taught to loudly announce their intentions of not
wanting to fight. This further ensures that should the law enforcement authorities intervene,
they will have witnesses to show that the CKM practitioner did not want to fight and that wha-
tever happened subsequently was the result of the aggressor. Fighting in self defense is legally
justified in most countries. Unprovoked physical confrontation and the use of excessive force
is not.
Combat in the streets is totally unpredictable. There are

no rules. There is no referee who will stop the fight, or
throw in the towel. There is no honor code.
Dynamic devastating counter attacks if necessary.
Static systems that claim to know all the answers are 3. The Only Winner is the One that Goes Home Safe!
obviously highly suspect. All bodies of knowledge must Dont let your ego get in the way of your judgement. Even if
keep evolving to keep pace with new inputs or else they you beat someone senseless in the street, you can be char-
become outdated. CKM is no different. CKM knows that ged criminally and end up serving a jail sentence. There is
criminals and terrorists continuously keep changing their nothing to prove by fighting someone. You are a true win-
tactics. Therefore, CKM keeps evolving to keep pace with ner if you go home to your loved ones alive and safe.
the new tactics and weapons of the enemy. It is totally
dynamic. 4. Evolution or Extinction! The key to survival is to conti-
Combat in the streets is totally unpredictable. There are nuously evolve and progress. As criminals evolve with the
no rules. There is no referee who will stop the fight, or throw weapons and tactics they utilize on their victims,
in the towel. There is no honor code. Treacherous behavior Commando Krav Maga recognizes the need to keep ahead
abounds. The attacker might pull a gun or a knife, or have of new threats. Any system that remains static can quickly
friends lurking not too far awaypossibly even a gang. become outdated. As such, the tactics and techniques in
Such people are capable of stooping to any subhuman CKM are constantly being evaluated and tested to see if
extent. there are simpler, faster and more effective methods. The
only constant in CKM are the key concepts and philoso-
phies.
The CKM Solution
CKM Curriculum
Think like a Commando. Engage and rapidly disengage.
Engage the enemy only if there is no other choice, but if you Aesthetics is not a main concern in CKM. It is a system
must then use appropriate force to stop the threat. Then, which focuses entirely on raw survival. Techniques and pro-
rapidly disengage before his friends come to his rescue. per body alignment are learned muscle behaviors.
The goal is simpleSurvive. This is the reality of the street, Perseverance and the will to live are far more important to
not of the dojo. those who embrace CKM philosophy than beauty of move-
Some of the important philosophies in Commando Krav ment and expression.
Maga are: The curriculum is rooted in repetitive training concepts
which allow students to reach defensive proficiency in
1. We Dont Live to Fight, We Fight to Live! In months instead of years. CKMs iterative approach to reac-
Commando Krav Maga, the intention in any conflict is to tive training enhances mental clarity, technical prowess,
find a peaceful solution. Violence is the absolute last resort. and physical stamina during times of extreme stress. Each
As a CKM practitioner, it is important to understand that pattern of moves has evolved through real life survival
you have a responsibility to use your skills for protecting situations. Drills using surprise and multiple attackers help
yourself or your loved ones. CKM tactics and techniques students explore strengths and weaknesses while honing
are potentially lethal and not meant for satisfying your ego reflexive skills. The goal of this type of training is to ultima-
by starting fights and hurting others. Instead, you are taught tely create instinctive reaction to whatever kind of attack is
to respect others and swallow your ego. In a confrontation, delivered.
use of force should only be utilized if you have no other
options.
2. We Look for Peace While Preparing for War! Even

though you are not looking for trouble, CKM helps prepare
you for the unexpected. There may be times when you look
for a peaceful solution by trying to deescalate the conflict
but an aggressor takes this as a sign of weakness. As a
CKM practitioner, you are always ready for combat while
never revealing that you know something. Your first inten-
tion is to always make it known that you dont want to fight.
However, if the aggressor engages, you are ready to launch
Krav Maga
Think like a
Commando. Engage
and rapidly disengage.
Engage the enemy only
if there is no other
choice, but if you must
then use appropriate
force to stop the
threat.
Techniques and Tactics

Learn the most complete foundation of Commando
Krav Maga (CKM) concepts, tactics, and techniques while
experiencing the rewards that come from conquering the
most challenging program ever developed in reality
based defense. Over the course of four intensive days
(@10hrs/day) get highly effective and easy to learn reality
based training.
Comprehensive Survival Skills:
Gun Disarming
Vicious Knife Attacks
Violent Strangulation
Ground Survival
Fast and Brutal Striking Scenarios
Pressure Points
Violent Headlocks
Surprise Attacks
Escape from Unexpected Street-Holds
Improvised Weapons
Pre and Post-Confrontation Tactics
Extreme Conflict Mindset and Psychologyand
more!
Acquire the tools and knowledge to get into your best

physical and mental shape! This world renowned boot
camp is designed for men and women age 18 to 80. All
training is by our professional high level Elite Team
Instructors who guide you through the course safely to
help develop the skills needed to protect yourself and the
ones you love. At the end of the four days you will have the
option of receiving an honorable Commando Krav Maga
Certificate of Achievement, or be tested to become an
Officially Certified CKM instructor.
Sifu Alfred Johannes Neudorfer and Sifu Rosa
Ferrante Bannera, founders of Wing Tsun Universe
- WTU, a movement which characterizes not by the
use of techniques, but of qualities, exchanges,
principles and concepts of movement - focus their
first DVD in Siu Nim Tao (SNT) or "9 ways". The SNT
is the basis of Wing Tsun, Wing Chun and WTU. The
understanding thereof is the basic condition for
everything that comes after, because if you observe
the way people perform the sequences of this
movement, you can easily deduce what they
will be able to do. If something is wrong
with the movement, everything the
practitioner will later develop will
be erroneous. WTU movements
(forms) involve inherent
functions from which can
derive applications. The
significance of the
primary movements
makes them derive in
other movements and to
generate applications
based on the principles
and interactions that
help to their
understanding. The WTU
also incorporates an extra
"set" its founders
considered necessary due to
the current circumstances.
The DVD includes the Movement
(form) Siu Nim Tao, its 9 sequences
and applications, sequences 1 to 3 of
the first movement with a training partner
(Chi Sao) and a revealing interview with the
founders of the WTU.
REF.: DVD/WTU1

pirat copy.
ORDERS:
In this new DVD of Vovinam, Patrick Levet has wanted
to show the facets of the use and handling of the
Vietnamese Stick. Although little known, the
Vietnamese long stick is, without a doubt,
the most important weapon among all
the weapons of the traditional Martial
Arts of Vietnam. The Vovinam
school, in its official program,
only proposes the Stick Form
(Tu Tuong Con Phap) and the
counterattacks of stick vs.
stick (Phan The Con),
without explaining the
intermediate movements.
But the Vietnamese stick
goes far beyond these two
facets and Master Levet
offers us 2 detailed DVDs
on all the applications of the
numerous intermediate
movements of the Stick
Quyen. This first volume
includes a series of specific
stick warming up and
bodybuilding exercises, the guard,
fundamental principles, stylistic
handling of the weapon, defense
against disarmament, blocking and
dodging, displacements, as well as combat
techniques. An original work that shows for the first time
the Vietnamese stick in a complete and exhaustive way.
REF.: DVD/VIET7
pirat copy.
ORDERS:
Interview
Interview with Michael Matsuda of Martial Arts

History Museum, Burbank California
The Martial Arts History Museum is the first, official museum in the world
focusing on the martial arts. Founded by former magazine publisher and mar-
tial arts historian Michael Matsuda, this year, the museum celebrates its 18th
anniversary. Designed as an historical timeline, the museum focuses on art,
history, culture and the traditions of the martial arts and its impact on
society. In this article we took a few moments to interview its founder, Michael
Matsuda.
BUDO: Let's start out by asking, what is your background in the martial arts?
Michael Matsuda: I started the arts at my local Japanese Community Center in 1968. Judo was really the only art avai-
lable to us at the time, it was torture! I was one of only two kids in the entire school and it was very traditional. When kara-
te schools started popping up I joined for a bit and then I went on to learn JiuJitsu. One day, Sifu Al Dacascos came to
visit the school and he was wearing this cool, high-collared black outfit. He was moving in circular patterns and that was
it, I knew from there I had to study that art. I started learning Shaolin kung fu from a college student and then later joined
the YMCA and learned Siu Lum Pai kung fu from one of Buck Sam Kongs senior students, Lyle Fujioka. Following my
eight years learning Shaolin, I studied Monkey style kung fu for 35 years, which I currently teach today. As unusual as it
sounds, I am actually the only 6th generation grandmaster of the Monkey art form. The family tree is very short and sadly,
its such a difficult art form that everyone drops out after a year or two. My instructor was the only one in the 5th genera-
tion and his instructor was the only one in the 4th. I am the only one who stayed and completed it, so I am the inheritor
of the art.
The Martial Arts

History Museum is
the first, official
museum in the
world focusing on
the martial arts.
Interview
BUDO: You were heavily involved in the arts in the early BUDO: There has never been a Museum for the martial
days! arts, what made you feel qualified to start it?
Michael Matsuda: Pretty much! I used to go to the tourna- Michael Matsuda: I wrote as a contributing editor of Inside
ments when I was young and I got to at least witness the tail Kung Fu, Black Belt and nearly every magazine for about 20
end of the blood and guts era of pointfighting. I got to see years. I founded and published Martial Art Magazine for about
Eric Lee in his early days, Bruce Lee when he was among us, four years. Now, although I had already degrees in journalism,
Fumio Demura at the Deer Park and see the Ed Parkers Long business and art, I didn't feel I knew enough to start a
Beach Internationals in the early 1970s. I got to witness when Museum. I didn't want to be someone who knows nothing
there were virtually no martial arts schools to a flood of scho- about the business and try to start a Museum. How foolish
ols. I remember going to the Chinese theatres to watch kung would that be? So, for the next 15 years, I went back to colle-
fu movies in the 70s. I was privileged, even though I was quite ge to learn marketing, how to run a Museum, archiving, dis-
young, to see so many pioneers in person, it was a great time! play and more. I went to the American Film Institute to learn
I remember full-contact karate in the early stages, that was directing and producing because I knew video played a huge
something else! I was honored to be able to cover those role in the Museum. I learned computer programming and
events when I got older and started writing for the magazines. more. I needed to make sure the Museum would not fail so I
did everything, education-wise, to prepare for it.
Interview
BUDO: What made you finally decide to create such a facility?

Michael Matsuda: The concept of the Museum actually begin in 1988, when I sold my
magazine. I wanted somehow to save history and magazines come and go. Who remem-
bers who was on last month's cover? After I felt I had enough formal education to start
the Museum, I officially launched it on the 15th of September, 1999. Now, I needed to take
this slowly so I began the Museum as a traveling exhibit. I and one of my students trave-
led across the country nearly every month at a convention, expo, etc. We started as a
10x10 booth then went to a full 1,000 square foot exhibit. We borrowed every item to put
on display from everyone I knew. We did this for four years and finally, in 2006, we ope-
ned in the city of Santa Clarrita.
BUDO: Why Santa Clarita?

Michael Matsuda: Through the years I have met with everyone in the political arena.
From the Mayor, Congressman, Councilman, Senator, Assemblyman, you name it, to try
and get their support to help us. I lived in Santa Clarita and had a meeting with
Congressman McKeon. He liked the idea and then we met with the Mayor of Santa Clarita
and they wanted me to have the Museum there. The Mayor actually took me to a location
and pulled out a blueprint of an area the city was going to use and construct three
museums. The Martial Arts History Museum would be one of them.
By this time, we had gathered enough funds to open a location and since the city was
going to construct a place for us, we decided to lease a space right next to the proposed
location so that people could get used to the spot. It seemed liked a good plan. However,
a new Mayor headed up the city the following year and he did not want museums in the
city. So, after a year, we packed up and looked for a city that was open to culture and art.
In 2010, we moved to the city of Burbank, CA and have been there ever since.
BUDO: What type of impact do you think a Museum has for the martial arts com-
munity?
Michael Matsuda: Having a Museum validates the martial arts. I dont mean validation
for styles sake, I mean it shows the world that the martial arts industry, its people and the
entire community are important enough to have a Museum. It reveals that the martial arts
isnt just a sport or hobby, but that the martial arts played a unique role in history, espe-
cially in America. The martial arts have changed peoples lives, it has created new indus-
tries and opened the doors to goal-oriented frames of mind. So many of our pioneers
made huge sacrifices to bring their art to the West. Many endured prejudice, racism and
more and if there is not a Museum to reveal what they did, all that history would be lost
forever.
BUDO: I heard you sold your home to purchase the Museum facility, why?
Michael Matsuda: I created the Museum because I felt it was the right thing to do. I
love the arts, been doing it for 47 years now, but I felt that we needed something that
would make an impact on the whole world. A place that would reveal our culture, history,
artistry and impact the arts have had on American history. This Museum is not about me,
you dont see my picture all over the Museum, this is about all of us. Its about Asian cul-
ture and tradition, its about the sacrifices that so many made to bring the arts here. Why
me? It all starts with one person, one idea and then it goes from there. Has it been easy?
No, not at all, its been a hard road!
Through the years, I and so many others have always supported our martial arts movie
stars. Granted, they weren't actors, but they were part of community so we went to the
theaters, bought our tickets and supported them. I am so glad that all these stars have
benefited financially, however, it was my hope that some of them would contribute to the
Museum. Sadly, so far, that has not be the case. So, it was up to me and the martial arts
community to get behind the Museum and make it happen. If I had to say what is my big-
gest disappointment, it would be the lack of commitment from those stars we faithfully
supported.
Interview
BUDO: So, what was the process and obstacles you be no point in starting the Museum in the first place. We trave-
faced in setting this up then? led for years and later became a non-profit organization.
Michael Matsuda: I wanted to very cautious about creating During that time Ive met with every leading government offi-
a Museum for the arts. Some people think you can just put pic- cial. From mayors, congressman, senators, etc to pitch the
tures on the wall and uniforms everywhere and call it a idea for the Museum. Ive had doors close right in my face,
Museum. I spent many years on the road as a traveling exhi- threats, people trying to deceive us, cheat us, steal from us
bit. We took the Museum from the West to the East of the and thousands upon thousands of promises that were never
nation. I wanted to see if there was enough interest in creating kept, it has proven a real ordeal at times!
a Museum. If there wasnt enough interest, then there would
BUDO: With all those inherent difficulties, why did you continue?
Michael Matsuda: Because I knew without a doubt, we would suc-
ceed. No matter how many times I had fallen, I had to get up and keep
going. Despite the rocky road, we got to know so many giving indivi-
duals that would join us and help us along the way. People who would
donate funds, help us carry equipment, stay up all night to set up our
stuff and much more. These amazing supporters and friendships we
have created along the way kept us going. When people ask me what
is your favorite or best thing in the Museum, I say, it was the journey
and the wonderful friendships we made along the way.
BUDO: What do you feel is the main focus of the Museum?

Michael Matsuda: There are several areas of focus for the Museum.
History is of course, our most important. The martial arts played such
a unique role in both Asian and American history. For the West, the
biggest influence began in films and from there, the martial arts scho-
ol explosion occurred. Today, we have over 27,000 known commercial,
martial arts schools in America, but I want to point out something that
I feel requires great attention. Today, so many of our pioneers and
legends are passing away. Many have written books and which will
eventually go out of print. Many were in magazines and nearly every
martial arts magazine has folded. Without a Museum, so many of
those pioneers, their legacy and the important role they played in his-
Interview
tory will disappear. That is truly sad and thats what is hap- more. When there is an understanding of the potential of an
pening. As one pioneer told me, This is not for me, this is organized Museum such as this, we can make a bigger dif-
for my great grandson to learn what his great grandfather ference.
did in history. Think of it this way, when a new martial arts movie comes
Another nice story to relate, one lady had the first, actual out, there is a temporary increase in school enrollment. The
kendo uniform from Funakoshis student from 1920. It was Museum is there all the time with thousands of visitors from
in her closet for decades. When she heard about us, she across the globe. They become inspired and in turn, they
was so relieved and donated it to us. She said, Now, my join a martial arts school or they buy a martial arts product.
grandfathers history will be remembered. I didnt want to Imagine having announcements, book signings, movie pre-
throw it away because it meant so much to him. mieres and more a the Museum.
BUDO: Visiting the Museum and I truly learned a lot, it BUDO: What other aspects do you feel are of impor-
was very inspiring. tance here?
Michael Matsuda: Thank you. I think our most difficult Michael Matsuda: Culture. Its not only important to
task is for the community as a whole, to understand what a learn the art, but to learn about the country from which it
potential impact a Museum will have for everyone. From the originated. If you practice a Japanese art form, learning
garage school owner to the head of the UFC. A Museum about Japan and how the martial arts played a key role in
opens the doors to young children who have never studied that countrys history. We bow but dont know how to do it
the arts, to visitors who come from all across the globe and properly, we utter Japanese words but don't we know the
meaning? By learning from the root, where the arts
came from and how it played a significant part in
Asian culture, we can understand our own art form
much better. Countless times Ive asked karate stu-
dents which country their art came from and they
didnt know!
BUDO: How does the future look for the

Museum?
Michael Matsuda: I am thrilled the Martial Arts
History Museum is doing well. We are a non-profit
501(c)(3) organization and are completely dependent
on donations, sponsors and memberships. So much
of our support comes from the individual, the small
school owner, the people that believe in our efforts
and what we are trying to do. To me, these are pio-
neers. The Museum is able to support itself, but it is
my hope to expand so that we can put in more
things about the arts. We do a lot of fundraising
events to raise money to purchase our TVs, art, dis-
plays, outdoor activities, etc.
BUDO: How can people donate to this cause?

Michael Matsuda: As a registered non-profit, all
donations are tax-deductible. If interested they can
send a check to the Martial Arts History Museum,
2319 W. Magnolia Blvd., Burbank, CA 91506 or visit
our website at: http://martialartsmuseum.com and
make a donation online.
BUDO: What special message would you like to

end with?
Michael Matsuda: Opportunities dont come by
very often and the Martial Arts History Museum is a
monumental opportunity for the entire martial arts
community. We will not have an opportunity like this
again, this is our one window and thats it. I cannot
stress that enough. If you think someone else is
going to come by and say I'll create a
Museum, and actually know how to do
it, that's just not going to happen. I've
invested so much time, education and
money into this to ensure it will continue
for many generations. The martial arts
has been here in America since the
1800s and now, over 150 years plus
later, we finally have a Museum. Join us,
support us, this is our history. Thank
you.
Maurice Elmalem
7 Time World Champion,
8 Time Guinness World Record Holder
Author, Producer, Artist, Developer
Former Budo Magazine Editor
www.mauricepromartial arts.com
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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