512 Budo International Martial Arts Magazine April 2025

Join the greats!

Dates: May 16, 17 and 18, 2025

Join the greats!

Dates: May 16, 17 and 18, 2025

BUDO MASTERS 2025

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Dates: May 16, 17 and 18, 2025

Pearls of the Warrior

“If you want to know the secrets of

the Universe, think in terms of

energy, frequency and vibration”

Worms or butterflies?

A

strology is an ancient system of describing the world, which has been updated under

immense pressure by swimming against the tide. Difficulty leads to ease! Well, it sharpens

the wits and wakes you up in a glorious way. Under the pressure of censorship in Spain, we

saw the emergence of a generation of extraordinary cartoonists, who used their humor as

a transformative weapon.

Analogical systems of thought, so typical and natural in humans (we have spent more time as

humans using this format than the current one), have been qualified and subjected by the scientific

method to the label of witchcraft. Witchcraft, like art and creativity, is characterized by using both sides

of the brain at the same time.

The human brain, by nature, thus strives to automatically use this analogical analysis system, which

on the other hand has allowed us to survive and thrive as a species for a long time, with or without

Descartes' permission.

On the other hand, the scientific method has enabled us to progress exponentially, but in doing so it

has become a kind of belief system; thus, instead of a working method, it has been transfigured from

its vantage point into the only bulwark of absolute truth. But as Le luthier said: “There is no such thing

as absolute truth... and this is absolutely true”.

Crushed under the weight of the shoe of this group predisposition to see everything through that lens,

which has animated the collective unconscious for the last two centuries, the analogical method, resilient

as only it can be, has meant that the ancient descriptions of the world have been accommodated

and intensely updated. This is the case of E-bunto (*), which kept its knowledge secret until now in an

unsuspected way. Many other occult traditions are now re-emerging, like weeds that you pull out of the

garden but which, in the struggle, become stronger every day. Astrology is a similar case and during the

20th century a group of new scholars were able to adapt and reinterpret its foundations, driven by new

astronomical discoveries and, above all, by Jung's contribution to the modern belief system. Astrology

abandoned its dream of investing itself in a deterministic science, something it was pushed towards by

those in power in the past, to embrace a holistic and inclusive conception.

Having said this, not in defense of astrology, but as a necessary introduction to the use I want to make

of it in this text, I will get down to business. Beyond the debates about the exact moment when the new

age of Aquarius begins (the church is full of doctors!), there is no doubt that certain cosmic events, with

their reflection in earthly history, have been announcing a paradigm shift between the two axes in transit,

Pisces-Capricorn, Leo-Aquarius.

For those unfamiliar with the subject, I will simply say, read and take an interest before judging, but

to facilitate the reader's understanding, we will say that the paradigms of the Pisces axis (religions)

Capricorn (Crowned heads, the establishment...) are now opposed on the axis we are entering;

Aquarius (Us, technology, inventions) Leo (individualism).

Given that Pluto has finished its task of destruction and rebirth in Capricorn, now that it has just entered

Aquarius, we can expect an absolute reconception of the concept of the common. The common is

plural, that is to say the idea of how we group together, and the very concept of what this means. Thus

the ideas of collective organization will be called into question. We are already witnessing a revolutionary

process regarding this paradigm. Aquarius is ruled by Uranus, which is in itself revolution, the

leap into the void of change, spontaneous mutation. Uranus also rules technology and we are perplexed

to witness the immense transformations to which the emergence of computers, and lately

AI, are leading us.

Uranus, lord of lightning, illuminates the darkness of consciousness with a

flash, an instant in which we see our most shadowy surroundings clearly, even

at great distances, but after which, a second later, we are unable to see the

stones and the details of the path.

The idea of the individual, a conquest of classical Greece, will have to be

shaped in these new times in which the West, as the guiding light of humanity's

conscience, pales and agonizes. The emergence of the USA, the epitome

of the age of individual freedoms (with all its contradictions), and the economic

rise of modern China as a leading power are a sign of these times.

Eras are analogous to the seasons in the astronomical year of the earth, but

in terms of major axes. In the same way, they do not arrive suddenly. Even day

and night have interregnum periods full of indeterminate chiaroscuro, but even

in the doubt of change, trends always show themselves clearly. Little by little

the darkness at dusk increases, just as at dawn the light imposes itself. Always

in transit, humanity witnesses its changes; it is here that the “upper chamber”

vision that astrology allows us, becomes an essential guide to understanding

these transformations. Being aware of them will allow us to participate better,

both as spectators and as actors, in this cosmic scenario, to which being born

at this time inexorably impels us.

If we are spirits living a material life, being born in a specific context has

to do with our evolutionary needs, providing us with the means and the

script to fulfill our purposes, thus participating in the “great work”. Those

most aware of the framework will enjoy the advantage that all knowledge

provides; the majority, however, will be passive objects and extras in its staging.

When one has no knowledge of oneself or of the environment, one will

always be in danger; like leaves blown here and there by the winds of change,

without an engine of their own. When one has no strategy, one always

serves the strategy of another.

Like the worm that transforms into a butterfly, the ultimate image of transmutation,

the human being must go through its phases: first forward, crawling

along the ground; then inward, when, on looking at itself, it becomes a cocoon,

and from there, finally metamorphosing into a butterfly. And the butterfly

breaks its shell and flies upward! To finally fly... Towards the Whole!

(*) A body of knowledge about the energies that make up the universe, and

the culture of the Hagumo (Shizen) people of Japan, which has remained hidden

until the 21st century.

“Like the worm that transforms into a

butterfly, the ultimate image of

transmutation, the human being must go

through its phases: First forwards, crawling

along the ground; inwards, when, on looking

at itself, it becomes a cocoon, in order to

metamorphose into a butterfly at last. And the

butterfly breaks its shell. Upwards! To finally

fly... Towards the Whole!”

Enrique de Vicente interview to

Shidoshi Alfredo Tucci on his youtube channel

about Ebunto Japanese Shamanism

of the indigenous people of Japan

Two unavoidable references in the world

of Martial Arts in our time, John

Machado and Avi Nardia, long-time

friends, one in Texas, the other in

Belgrade, but on a plane every month,

collaborate in this video in which they

analyze disarms and self-defense techniques,

the result of their shared experience.

Let this article serve as an introduction

to a work for all those who, beyond

styles, know how to see and enjoy mastery,

intelligent solutions and the advantages

of cooperation over confrontation.

Pure Brazilian ju Jitsu, John and his

Machado brothers sowed quality throughout

America together with their cousins

the Gracie brothers, opening the world

to the techniques of the “soft art”

that have revolutionized the last

fifty years in the sector. Avi

Nardia, a regular in our pages

for decades, has had Israeli

combat systems in his blood

and has experienced first-hand

their development and teaching,

from his experiences in

his unit, the Yaman, to his

devotion to the arts of

ancient Japan. An extraordinary

combination that endures

over time and always

bears fantastic fruit, such

as the present work.

Two greats who have

my utmost respect and

admiration.

Alfredo Tucci

Photos: Peter Doyle & Alfredo Tucci

Text: Chris Cotter

The Ronin and the Tea Master

“The sword has to be more than a simple weapon; it has to be an answer to life’s questions.”

-Miyamoto Musashi

I recently had the pleasure of accompanying Avi Nardia on his travels in the United States and in our discussions,

we talked about the application of swordsmanship and martial arts to all aspects of life. It’s no surprise

that The Book of the Five Rings and The Art of War became best sellers among executives and business elites,

parallelling Carl von Clausewitz’s assertion that “War is merely the continuation of policy by other means.”

Oftentimes, we get comfortable in or lives or in business because the structure of our society and industry is such

that we have a large margin of error and there is a high tolerance for waste and inefficiency.

In war and in combat, we have no such

luxury. Teams need to work in seamless coordination,

training must be rigorous and adapted

as strictly as possible to realistic conditions

and the focus of each individual must be

directly aligned with that of the whole, a focus

which must be aimed at the highest-level

priority for success. It’s for this reason that

executives and those working in highly competitive

industries seek out the guidance of

military strategy, better adapting their own

initiatives and leadership strategies to the

rigors of combat.

Following this model, Avi Nardia has been

developing a system of martial arts that can

be adapted to life in general. Whether a martial

artist or a business executive, a salesperson

or a Law Enforcement Officer, Avi’s updated

and integrated system incorporates the

principles of “Kensei” or “Sword Saints” – a

title designating one as not just a fighter, but

as one who embodies the philosophical,

moral and physical attributes of a warrior.

This system that he is calling Integrated Jiu

Jitsu (IJJ) is the highest-level and most thorough

system developed as a culmination of

his experience and training.

IJJ incorporates his Close Distance

Combat (CDC) curriculum, which has

been developed training Special

Forces units and top tier close protection

teams throughout the world and

combines this with his conceptual and

philosophical learnings having studied

swordsmanship for seven years in

Japan. This system doesn’t require

that one dedicate their life to martial

arts, but rather integrate the martial

arts into their life and develop and walk

their own path, thus making it accessible

to civilians and martial arts practitioners.

Similarly to ...

Sword Style with No Sword

In Japanese, the term “Kensei” denotes a

higher degree of perfection, a level that allows

one to win fights without fighting or a sword

style that requires no sword. Master Avi

Nardia teaches a style of two swords: "satsujinken"

(the sword that kills) versus "katsujinken"

(the sword that gives life). Just as we

learn martial arts to excel in our combative

ability, so also should a true martial art be

used for self-improvement and the betterment

of society, not just for combat. This is often

manifest in our abandonment of ego, situational

awareness, relative position, calm in

adverse situations and our psychological

awareness and ability to de-escalate a potentially

dangerous situation. Parallelling the

question “which doctor is better, one that can

cure any disease or one who can provide guidance

so you never suffer a disease in the first

place?”, so also one could say “which martial

artist is better, one who can win any fight or

one who can prevent a fight from occurring in

the first place?” – obviously the latter is the

superior practitioner in both cases.

Just like the third rule in the original

Roadhouse was “Be nice”, being kind and

caring to others is the easiest way to avoid

unnecessary conflict in the first place. Your

training should also prepare you for highstress

situations, meaning when you do find

yourself in an escalating conflict, your calm

should act as ballast for the belligerents, brining

a sense of peace to de-escalate the argument.

If you’ve been training for a while, you

should also have failed enough times to have

put your ego in check. This is possibly the biggest

liability in a situation that is escalating,

where insults or even physical contact have

already been leveled against you. Walking

away with a smile is sometimes the best response

to prevent a conflict, understanding

when a situation doesn’t call for violence.

Finally, in a situation where violence is truly

unavoidable, having the skills and abilities to

act in a just and moral manner to protect

others is when you can exercise the “satsujinken”,

ensuring your level of force is commensurate

with the threat being dealt with.

“Just as we learn martial arts

to excel in our combative ability,

so also should a true martial art

be used for self-improvement

and the betterment of society,

not just for combat.”

The Ronin and the Tea Master

A tea master, serving a Daimyo (a feudal lord), accidentally

offended a ronin (masterless samurai) who then challenged

him to a duel. Lacking any combat skills and fearing

that he would die as a coward, disgracing his lord’s

name, the tea master sought the guidance of a renowned

sword master to teach him to die with dignity. Normally,

this sword master would not even admit a student until

undergoing rigorous months’ long assessments, but

seeing the distraught look on the tea master’s face and

hearing his story, the sword master admitted him as his

student, but on the condition that the tea master prepare

him a pot of tea.

Immediately, the tea master’s demeanor changed

from sheer terror to absolute calm and his

mastery of Zen was demonstrated in the precision

with which he gently folded his outer jacket

and set it aside and how he calmly and gracefully

prepared the tea. As the sword master slowly sipped

his tea, he told the tea master that he had no

need for a master, but that when he met the ronin

for combat, he should simply imagine that he is

preparing tea for a revered guest and that he

draw and hold his sword with the same grace

and calm that he prepared the tea. He would be

cut down with one blow by the ronin and honor

the legacy of his lord with a noble death. The tea

master understood and thanked the sword master

for his wisdom.

The next day the ronin arrived at the point

agreed and was surprised to see the tea master

arrive in his ceremonial garb, fitted with a sword.

The tea master calmly took off and folded his

outer jacket and set it to the side as though he

were about to prepare tea, but then drew his

sword and raised it above his head, prepared to

die in one stroke from the ronin. The ronin however

was stunned by the tea master’s calm and

focus, having drawn his sword with the same

grace and precision he used in his craft. The

ronin, sensing the tea master's composure and

fearless intent, was overcome with doubt and

seeing the folded outer jacket thought to himself

“If he thought he was going to die, why would he

fold his jacket? He must be a great master and I

was a fool to have challenged him!”

“As is the case whenever we

get the opportunity, Master

Avi and I visited Master John

Machado in Texas. In addition

to sitting in on Brazilian Jiu

Jitsu classes with a true

Martial Arts Legend”

The ronin then bowed and begged forgiveness from the

tea master, asking if he could be pardoned for his disrespect

and lack of discretion. The tea master pardoned him and

went on to serve his lord many more years, never forgetting

the lesson of the sword master.

Just as the tea master was able to apply the principles of

his art to martial arts, so also we as martial arts practitioners

can apply the principles of martial arts to our profession,

relationships and life.

The same calm a Brazilian Jiu Jitsu practitioner can exercise

while surviving a choke and maneuvering to a superior position, he

can employ in a stressful business meeting while calmly receiving

the information of a crisis and maneuvering to resolve the issue.

The same discipline with which a Muay Thai practitioner drills kicks

and movements can be applied to the routine administrative tasks

that most at his job would procrastinate in completing. This is a

simple, yet profound realization in martial arts, one that can be life

changing.

“Master John puts you in

situations to challenge

you and keep you in a

constant state of

growth.”

Training and Learning from a

True Master

As is the case whenever we get the opportunity,

Master Avi and I visited Master John

Machado in Texas. In addition to sitting in on

Brazilian Jiu Jitsu classes with a true Martial Arts

Legend, we were able to sit down and chat over

coffee. It is seldom that you come across someone

with such passion and love of life, but

Master John truly embodies the philosophy that

he teaches. His teaching style is not at all rigid or

mechanical, instead he gives you very concise

concepts and allows you to explore the overall

idea to generate your own style and techniques,

which accelerates the learning process and pushes

the body to internalize the concept as opposed

to simply mirroring a technique. As you

explore and ask questions, he’s able to show you

so many variations and contingencies that your

mind gradually opens up to the multi-dimensional

nature of the art. As you continue to explore,

Master John puts you in situations to challenge

you and keep you in a constant state of growth.

This past time training, Master John was

demonstrating a specific concept that corrected

an error that one of his students made in a recent

competition, then showing a few variations (and

many more variations for the more advanced

students). One could think of this as limitless

complexity from extreme simplicity.

Just as a seed contains all the information

and capabilities to grow an entire tree

and bear fruit, so also one concept taught

by a true master has the ability to blossom

into countless adaptations, depending on

the circumstances and response from your

opponent.

This same simplicity carries over into

Master John Machado’s life. Instead of

focusing on distractions in life, Master John

distances himself from the drama and politics

of martial arts and focuses on a good

coffee, natural food and great conversations

with friends. From this simple principle,

there is limitless potential and this philosophy

provides him peace and joy in life.

By not getting wrapped up in the schemes

and contrivances of others, Master John

has more time to prioritize the activities that

add more value to his life.

“I’ve had the extreme

pleasure and fortune to train

under such masters as Dr.

Les Moore, John Machado

and Avi Nardia, along with

many others.”

Putting it all together

I’ve had the extreme pleasure and fortune to train under

such masters as Dr. Les Moore, John Machado and Avi

Nardia, along with many others. I can say with confidence

that the teachings, guidance and vision of these great

masters has been nothing short of life-changing. The

application of the principles taught, the discipline and the

perspectives have been integrated into every aspect of

my life, both personal and professional. Avi’s system of

Integrated Jiu Jitsu provides a framework for anyone looking

to develop themselves, whether that be physically,

philosophically or in their martial or combative arts journey.

His practical instruction paired with the wisdom accumulated

from a life-long study of martial arts has given

him the unique ability to discern and tailor his training to

any individual or audience. The pinnacle of his training is

the way of the sword with no sword, shaping martial arts

practitioners into true Kensei.

Handling firearms in self-defense

Using firearms in self-defense is a demanding and complex

challenge in martial arts, whether for beginners, advanced

students or masters. The essential question that arises is:

How practical and realistic is the training? It is often overlooked

that there is a significant difference between the controlled

conditions in the dojo and the unpredictable circumstances

of a street fight.

Before training in defensive techniques against

firearms in a dojo or on a shooting range, it is

essential to have a thorough understanding of the

weapon itself. This knowledge includes not only

knowing different weapon types and models, but

also how to handle them safely, how to position

them correctly, and how to carry the weapon.

This includes analyzing dangerous situations

before, during and after a potential conflict, as well

as paying attention to the surroundings and the

mental demands in such extreme situations. Only

through a thorough understanding and respectful

handling of the weapon can the necessary connection

be created that is crucial for effective selfdefense.

Those who train disarmament techniques against

firearms must be aware that many of these exercises

are often idealized in the protected environment

of the dojo due to the structures of the martial art.

However, in reality, characterized by stress and

uncertainty, these techniques quickly reach their

limits. The real challenge and also the potential dan-

ger is to clearly recognize and respect the difference between art and reality.

Conclusion: Self-defense against firearms requires much more than just mastering techniques. It requires a comprehensive

understanding of the weapon, the environment and one's own mental strength. The contrast between controlled training

in the dojo and the unpredictable reality of an emergency makes it clear that theory and practice often do not seamlessly

transition into one another. Only those who understand and respect the difference between the idealized martial art

and real-life conditions can act consciously and responsibly in an emergency. Ultimately, the decisive component is not

the weapon, but the person who holds it and understands what conscious handling means.

“Those who do not regularly work with firearms

and do not train intensively with them should, in my

opinion, not teach defense techniques

against firearms.”

Firearms in self-defense: why experience and regular training

are essential

Handling a firearm for self-defense is not simply a learnable technique. It requires a

deep connection to the weapon itself, in-depth knowledge of its mechanisms and a pronounced

ability to realistically assess dangerous situations. In many traditional martial

arts, disarming techniques are trained in the dojo, but these often remain in a controlled,

artificial environment and fail under the psychological and physical pressure of real use.

Dealing effectively with firearms goes far beyond their use in the hall: it means mastering

the mental and technical side, sharpening situational awareness and always acting

vigilantly and responsibly.

Therefore, only those who train regularly under realistic conditions and with high standards

develop a genuine, resilient ability in dealing with firearms and in self-defense.

“Anyone who doesn't

regularly work with firearms

and train with them

intensively should, in my

opinion, not teach selfdefense

techniques

against firearms.”

Agility and mobility when shooting

Agility and mobility are two of the most crucial, but often underestimated,

skills for effective shooting. They form the basis for dynamic

shooting techniques and enable you to move flexibly and quickly in

real-life self-defense situations. To develop a shooter's full potential, it

is essential to train these skills in a targeted manner. The interplay of

body mechanics, strength, footwork, speed, timing, coordination,

balance, and mental attitude makes the difference between success

and failure in the field.

It is not only important to have these qualities, but also to know

when and how to use them. Each situation – whether shooting, knife

fighting or close combat – requires a specific combination of these

skills. Agility and mobility are at the core of shooting technique as they

provide the foundation for smooth and precise movements. A marksman

who has mastered these skills is limber, flexible and always ready

to react quickly and efficiently.

The importance of agility and mobility is particularly evident in critical

moments, such as in complete darkness or in other threatening

situations, where the ability to move quietly, quickly and in a controlled

manner can save lives. Shooting on the move requires precise

control of weight transfer. A good marksman can move continuously

– whether squatting, standing up or changing to another position –

and still always hit the target. This perfection is the result of intensive

training that combines agility and mobility with cognitive and mental

exercises.

Another important aspect is cognitive and mental training, which

sharpens attention, responsiveness, memory, and sensory acuity.

These skills are essential to consciously navigate various movements

and environments in the heat of the moment without losing control or

putting yourself in a dangerous position. A shooter must be able to

control their breathing, memorize the layout of the room and maintain

situational awareness at all times.

“Even though the pistol

remains a deadly weapon,

it is not the deciding

factor. The person

who carries it is the

deciding factor.”

“Only those who understand that shooting

goes far beyond muscle power and technique

will become a true professional and that is the key to

personal safety and efficiency in the field.”

Many people, whether in sports or security professions, mistakenly believe

that shooting is only about physical strength and athleticism. But to become a

true professional, you have to open your mind and recognize what skills are

really necessary to be fully prepared in every situation.

The ultimate goal is to develop the shooter's full potential in a holistic way,

with agility, mobility and mental strength as key elements for success and

safety.

Diagram extract:

1. Agility and mobility

• Flexibility and suppleness

2. Cognitive and mental training

• Attention, responsiveness, memory and sensory sensitivity

These elements form the foundation for the ability to act precisely and effectively

even in dynamic and unpredictable situations.

Conclusion: agility and mobility are not mere additions, but essential building

blocks for anyone who wants to reach their full potential in shooting. In

combination with cognitive and mental training, they shape a shooter who can

act precisely, flexibly and quickly in any situation – whether day or night, on the

move or under pressure. Mastering these skills means not only becoming

more technically adept, but also, on a deeper, holistic level, being prepared to

face the real challenges of a defensive situation. Only by understanding that

shooting goes far beyond muscle power and technique can one become a true

professional, and this is the key to personal safety and operational efficiency.

The path to this level of excellence is demanding, but the reward is invaluable:

a shooter who is prepared for any situation, always acts confidently and

can exploit the full spectrum of his abilities. Agility, mobility and mental

strength are the keys to shooting that is not only effective but also sustainably

safe for oneself and for others.

10 Steps to

Vital Points

“The effectiveness of any

martial art is based on

the principles they are

founded upon...

not the techniques.

This is the chicken and

egg question.

Which came first...

the chicken or the egg?”

Kyusho Jitsu

“Kyusho Jitsu is not

an art unto itself,

but an advanced part

of every martial art

and the principles that

we will discuss in this

article will undoubtedly

help you to increase

the effectiveness of

YOUR martial art.”

Assisted by Gianluca Frisan of Italy

The Kyusho Pyramid

10 Steps to Increasing the

effectiveness of ANY martial art

By Mark Kline

The effectiveness of any martial

art is based on the principles

they are founded upon... not the

techniques. This is the chicken

and egg question. Which came

first... the chicken or the egg?

Kyusho Jitsu is not an art unto

itself, but an advanced part of

every martial art and the

principles that we will discuss in

this article will undoubtedly help

you to increase the effectiveness

of YOUR martial art.

First I would like to tell you a

little about myself.

I started wrestling at the age

of 12 and continued with this

until my 2nd year of college. This

training was pivotal to how my

martial arts career has evolved.

During my first year of college I

started studying Tang Soo Do,

which was my first introduction

to the kicking and punching

aspects of the martial arts. Due

to 7 years of grappling

experience, this type of training

was strange at first especially

when it came to sparring. My

first instinct had always been to

grapple and takedown as soon as

possible. When the instructors

told me that this was against the

Increasing the effectiveness of ANY martial art

Vital Points

Kyusho Jitsu

rules, I was a bit confused since I thought I was learning

self defense, but what I soon realized was that I was

learning sport karate. Once I understood this, I was ok

with it since I was adding new strategies to my arsenal.

Soon after my college years, I started training with

George Dillman, Professor Wally Jay and Professor

Remy Presas. I used the revenue from my school, which

I opened. In 1992, to train with one or all of them

almost every weekend for more than 10 years and

became the first person in the world to have earned

individual black belts from each Grandmaster.

What I learned from them was invaluable to my

understanding of armed and unarmed self defense

through the strategies and concepts that I was

studying. These transcended style and armed with this

knowledge I have been codifying these principles, as you

will see below, to help anyone, regardless of style or

time training to increase the effectiveness of what they

learn, study, and teach.

Since then I have been teaching seminars all over the

world on the subject of Ryukyu Kempo / Kyusho Jitsu

combined with Modern Arnis and Small Circle Jujitsu.

This is what I call The PinPoint Method...A Strategic

and Tactical Pressure Point Methodology. Easy to

Learn. Quick to Implement.

So let’s dive right in and talk about the 10 Steps that I

have discovered that will increase the effectiveness of

any martial art.

Controlling Your Center

There are two aspects to controlling your center. First we will start with the Physical

Aspect. It is important to maintain correct posture through what exercise physiologists

call, keeping a “Neutral Spine.” This is where your spine is in the most natural state,

where you can move about with ease and power. Maintaining correct posture will both

enable you to avoid being drawn off balance by an opponent and allow you to transfer

the maximum effect of your techniques into your opponent.

Now let’s move onto the the Emotional Aspect of controlling your center. Keeping a

clear, focused state of mind despite the common emotions of fear and anger which

10 Steps to Increasing the effectiveness of ANY martial art

Kyusho Jitsu

Vital Points

usually accompany a confrontation is critical

to maintaining the fine motor skills which are

an integral part of the PinPoint Method.

Controlling your Opponent’s

Center

Controlling your opponent’s center is

broken into two parts. We will start off with

the Physical Aspect. Keeping an opponent

off balance physically makes it possible to

apply techniques to larger, stronger

opponents and make it more difficult for them

to attempt to counter your actions.

The second aspect that we will discuss is

the Emotional Aspect where we learn and

train tactics intended to mislead, confuse,

and otherwise inhibit an opponent’s ability to

make good decisions. This will further

decrease their ability to counteract your

actions.

Body Movement

There are two aspects to understanding

Body Movement. We will start out with our

body movement first. Sometimes meeting

“Keeping an opponent

off balance physically

makes it possible to

apply techniques to

larger, stronger

opponents and make

it more difficult for

them to attempt to

counter your actions.”

Kyusho Jitsu


Vital Points

“Once we can have a good

understanding of how to generate

power for striking and grappling

through proper body alignment,

this will help

us to maximize our power”

Vital Points

an attack head-on is the correct course

of action. Frequently however, avoiding

and/or redirecting an attack achieves

better results. Co-opting and/or

commandeering an opponent’s

momentum can also produce a

significant tactical advantage and the

recognition of when to move where is

essential to any martial arts arsenal.

Now we can discuss your opponent’s

Body Movement. There are cues that an

opponent will give just before they are

ready to attack. Understanding these

cues and incorporating them into your

training is essential to all martial arts. One

problem with training in techniques only is

that we as students don’t learn how to act

spontaneously and how to recover from

this. When things don’t go as planned,

we tend to freeze up and stay in harm’s

way. A good understanding of our

opponent’s body movement is a sure fire

way to increase the chances of exiting

most encounters safely.

Body Alignment

There are two aspects to understanding

Body Alignment. We will start with our

body alignment first. Once we can have a

good understanding of how to generate

power for striking and grappling through

proper alignment will help us to utilize our

entire body, including the legs and

muscles of our core. We can maximize

our effectiveness of all of our techniques

in this manner.

When talking about your opponent’s

Body Alignment, this is where we will

learn how to create an alignment in our

opponent’s body which will put them at a

mechanical disadvantage. By breaking

the structure of just one part of your

opponent’s body, they will lose the ability

to fight back offensively because they will

be fighting just to keep their balance.

Principle of Opposites

There are certain subconscious things

our body’s do when confronted with an

attack. When someone pushes, we

generally push back. When someone

Kyusho Jitsu

Vital Points

pulls us, we generally pull away. These are a part of our natural survival

instincts and basically how our attacker expects us to respond, but this does

not mean that we cannot makes changes to what, individually, we perceive as

natural. We can create habits that become natural...to us.

The Principle of Opposites is all about doing the opposite of what we would

do instinctually thus retraining our brain. For example instead of pulling away

when we are grabbed and pulled, move in towards our attacker and they will

immediately take a defensive position by attempting to push you back. These

are all predictable responses. All martial arts talk about using your

opponent’s energy against them, but fail to address the psychological and

instinctual components of using this Principle in detail. Using this principle

against your opponent will help you to control their physical and emotional

centers. This is a key principle in the PinPoint Method.

Yin & Yang

When we can understand the predictable responses our opponent will have

when we strike or grapple with them, we can increase the effectiveness of our

techniques. As a basic rule, The front of the body, which includes the inside

of the arm and inside of the legs are considered Yin or Negative. The

predictable response you would get when striking these areas are that your

opponent will immediately close down towards the fetal position (depending

on the area targeted and the amount of force).

The back of the body, including the sides of the torso, back and outside of

the legs and back of the arms are considered Yang or Positive. When these

points are manipulated the opponent opens up with one or both arms moving

outward.

Kyusho Jitsu

“The Principle of Opposites is all

about doing the opposite of what

we would do instinctually thus

retraining our brain.”

Kyusho Jitsu

“Since then I have been teaching seminars all

over the world on the subject of Ryukyu Kempo

/ Kyusho Jitsu combined with Modern Arnis

and Small Circle Jujitsu. This is what I call The

PinPoint Method...A Strategic and Tactical

Pressure Point Methodology. Easy to Learn.

Quick to Implement.”


Vital Points

These reactions are quite easy to explain from a

physiological perspective. For examples I am going to use

broad generalities using the upper body in this discussion.

Yin responses where the opponent’s arms come in to

protect themselves are to cover the internal organs located

close to the surface in the front of the body. Even though

the rib cage is there to protect the organs, the arms are a

second layer of defense. In contrast, the back is heavily

muscled because the arms cannot protect in the same

manner. When the arms move backwards, the muscles

close in around the spine and protect this vital area.

Understanding predictable responses of the body is yet

another core component of the PinPoint Method.

Multiple Planes of Motion

There are two aspects we cover when discussing

Multiple Planes of Motion. The first we will discuss is

Striking. Utilizing multiple directions of movement can

significantly increase the effectiveness of a strike. For

instance, a punch in which the wrist is rotated upon

impact, which we call a Force Multiplyer can transfer

more energy into an opponent with less effort on your

part. The result is greater effect on the opponent with

less risk of you sustaining an injury to your hand or

wrist due to impact.

Now let’s take a look at the grappling aspect when

using Multiple Planes of Motion. This is where we

would simultaneously apply torque to a joint along

multiple planes. When we apply torque to a joint in

multiple directions at once, we can produce greater

results with less effort, increasing the chances of

success against a larger, stronger opponent.

Anatomical Intuition

There are two aspects we talk about when

discussing Anatomical Intuition. This is where

we Instantly determine and apply the most

appropriate technique(s) to achieve

maximum effect based on the situation.

(Reading motion of the body). This goes

hand in hand with the aspects of Body

Movement and Body Alignment and will

help us to achieve success no matter

whether we are applying a grappling

technique or striking our opponent.

Kyusho Jitsu


www.kyushoInstitute.com

Kyusho Jitsu

“Transitioning from one technique to

another rapidly, without leaving an

opening for your opponent to counter,

is necessary to win a fight and should be

looked as a stand alone aspect.”

Vital Points

www.kyushoInstitute.com

Kyusho Jitsu

The second aspect is Tactile Sensitivity. Every opponent will react

differently to striking and grappling techniques. Determining the amount

of force / pressure needed and having the ability to detect when a

technique is not having the desired effect you must transition (see the

aspect of Transitions)to a different one -- in fractions of a second.

This is another core component of the PinPoint Method.

Transitions

Transitioning from one technique to another rapidly, without leaving an

opening for your opponent to counter, is necessary to win a fight and

should be looked as a stand alone aspect. The ability to do this is

achieved by learning to intuitively apply all of the PinPoint principles

described above, knowing when to put on and take off pressure and

when to change technique based upon your positioning in relation to

that of your opponent.

Pressure Points / Anatomical Targets

The last aspect we will discuss today is the use of Pressure Point

and/or Anatomical Targets. Pressure points induce specific

physiological effects which you can strike or grapple with to use as

leverage to escape, counter-attack, and diminish or eliminate an

attacker’s ability to continue their attack. Sometimes these effects

include pain, but more often include weakness (due to what’s called the

myotatic reflex), disorientation, and even unconsciousness.

A common mistake many people make is that they believe that

learning Pressure Points and/or Anatomical Targets is the most

important aspect. The reason that I have chosen to discuss this aspect

last is because without all the previous aspects discussed, this aspect

could have little to no effect.

It is very important to have good solid technique first and foremost.

There is a saying in Politics that if you put lipstick on a pig...it is still a

pig. Learning the foundational elements of any art, especially if you

want to add Kyusho to your arsenal is paramount to increasing the

effectiveness, but only after you have become a good technician.

In Conclusion

The aspects we discussed in this article can make you a better martial

artist. We have produced a DVD that can help you have a better

understanding of how to quickly incorporate these into your training.

My goal has always been to pass an effective self defense methodology

that is not only easy to learn, but quick to implement.

Video & DVD

The beginning

It was the early 80s and, as I've said in

various other places, I found myself in

Indonesia. It was my first trip to the Far

East. Like any other practitioner of

Japanese martial arts, in my case judo

and jujitsu, I would have hoped to visit

Japan, but fate brought me to Bali instead.

As soon as I arrived I realized that,

from a tourist point of view, this was a

stroke of luck, but as far as martial arts

were concerned, I still preferred the land

of the Samurai. After visiting several

gyms where the local martial art Pencak

Silat was practiced, I became convinced

that after all, with different names,

there were similar activities in Italy too,

for example the Viet Vo Dao that I was

practicing in Milan.

Only after a few days my thoughts

were contradicted: by chance I found

myself in a Banjar (a Balinese neighborhood)

where I was able to see young

people and teachers at work. On the

hard tiles of a kind of temple protected

by a beautiful canopy, without walls,

these people were performing both fascinating

solo movements and splendid

hand-to-hand techniques. I approached.

That's where it all began.

My adventure began with the teacher

Ketut Gysir, known as Mangku Gysir, or

priest of the Hindu religion. He was an

enigmatic, unpredictable character,

you never knew if what you said or did

pleased him or not, however, after a

painful start with particular massages

on pressure points and painful twisting

of my toes, I started to practice every

day. Some time later I learned that the

style I was learning, which seemed so

different from what I had seen in the

gyms in Denpasar (the capital), was

called Cidepok.

He told me that it was a well-known and

widespread practice in some Balinese communities

and added that interest in it was

decreasing compared to the past; young people

were turning their attention elsewhere,

practicing other sports and above all, having

to study and work, they no longer had time to

devote themselves to traditional arts.

A few years later I found out that there was

and still is a town near Bandung with the same

name. I started to explore and wander around

Sumatra, Java, Lombok, Flores, just to mention

a few islands of the archipelago. I had

interesting experiences in Malaysia, but I

never missed my yearly appointment in Bali.

Master Ketut introduced me to Master Agung

Aliit Sumandi (who can be seen as a young

athlete in Draegher's book). I was also initiated

into the Citembak Silat style, known as the

explosive style, whose motto is: strong, fast

and close.

Studying Cidepok Silat opened my mind, as

I learned to discern what was Seni (artistic

movement) and what was effective in combat

against the orang jalan (the man in the street,

the real aggressor).

In Sumatra I was lucky because I met the

living authority of the Harimau, Master

Malano, and even in this case I would have

understood very little without the solid training

I had received in Bali. Wandering around like a

seeker of enchanted unicorns (as Shidoshi

Alfredo Tucci called me) I found swindlers and

charlatans, but also good people and good

teachers.

Master Agung, with his kind and helpful

nature, unfortunately passed away prematurely.

However, he had the time to teach his two

children the traditional arts. To tell the truth,

one of the two younger ones was already a

promising athlete of Balinese Silat Bakthi

Negara, however he was intrigued by the fact

that a Westerner came from Italy to study with

his father while he, who always had him at his

disposal, seemed to snub his father's old martial

arts practices. The son did much more

than study with his father. Following my example,

he went to Banjar Singgi, which in the last

century was teeming with Pencak Silat and

even Chinese kung fu masters, and by interviewing

the survivors he managed to create a

system that today is called Silat Singgi, or the

martial arts practices of that magical neighborhood.

A team from Italy is already ready to

go to Bali to learn the wonders of Silat Singgi.

Bandung

Last year I decided to embark on a journey to discover the origins of

Cidepok, searching in the area around Bandung on the island of Java.

Once again I was lucky: I found a system that was already organized,

at least in terms of the structure of the jurus. The system is called

White Elephant, which is also the symbol of this style of Silat. It is not

a question of imitating the animal's movements, the symbol is intended

to emphasize the qualities of power, generosity and resistance of

the pachyderm combined with the purity represented by the color

white in Indonesian, Putih

In 1959, the master Kh. H. Jagnudin, in the region of Jawa Barat,

brought together his knowledge, which obviously concerned the different

styles present in the area, and composed a program in which

Jurus and Langkah form the backbone.

“Studying Cidepok Silat opened my

mind, as I learned to discern what

was Seni (an artistic movement)

and what was effective in fighting

orang jalan (the man on the

street, the real aggressor).”

Gajah Putih, the White Elephant

There are 25

Jurus, subdivided as follows:

1. The first Jurus is simply called Jurus

2. The second is called Jurus Susun which in Javanese means

level, in fact it indicates an increase in level because instead of

2 strokes, 4 strokes are made.

3. The third Jurus is called Jurus Potong which means “cut”

4. The fourth is called Jurus Sikut or elbow

5. The fifth is Depan Potong, which includes jurus number

three

6. Jurus depan Sikut also includes jurus number four within

jurus number six

This is the end of the first level of Silat Gajah Putih. It usually

takes six months to successfully complete the first step. The

next step is another 6 jurus:

1. Jurus simur

2. Jurus selup

3. Tabang atas

4. Tabang Bawa

5. Tabang bawa

6. Alip Sankol

This brings us to the exam for the second step, after which

you move on to the other group of 6 jurus:

1. Jurus sentak

2. Jurus sedong macan

3. Jurus kwitan

4. Jurus Kiprat

5. Jurus stembak which in Javanese means to shoot (while in

Indonesian it would be tembak)

6. Jurus seron

Once you've completed the third step, you move on to the

fourth level, learning seven jurus this time:

1. Jurus alip catok

2. Jurus alip naga - berena cadet

3. Jurus dongkari tungkal

4. Jurus capra dongkari kepruk

5. Jurus tangan besop paksi mui

6. Alip tilap lenti move

7. Lube move

The steps

1. Sembilan move (the nine parts of the body)

2. Lapan move (the 4 good things and the 4 bad things)

3. Lima move (the 5 prayers of Islam)

4. Pasun move (the triangle)

5. Langkah Empat (the 4 directions)

6. Langkah Tiga (the right-angled triangle)

7. Langkah Selancar (cyclic)

8. Langkah Tujuh Umpuk (the softness of the seventh step)

9. Langkah Duabelas (the good and the bad)

10. Lagnkah Sebelas (me and God)

There are also 10 langkah, or steps, with which to perform

the jurus

In fact, to reach the fifth level, indicated by the same number

of stripes on the belt, you have to perform all 25 jurus

with the first two langkah

For the sixth stripe

The 25 jurus and the first 4 langkah

For the seventh stripe

The 25 Jurus with the langkanh ada 1 to 6

For the eighth strip

The 25 jurus with the langkah from 1 to 8

Finally for the tenth strip

The 25 Jurus must be performed with all 10 langkah

Immediately after, you concentrate on two aspects:

Seni and beladiri

Seni is the art in which movements become a dance, while

Beladiri refers to the study of self-defense. Each person,

according to their own inclinations, can choose to cultivate

one aspect or the other.

“In Sumatra I was lucky because I met

the living authority of the Harimau,

Master Malano, and even in this case I

would have understood very little

without the solid training I had received

in Bali. Wandering around like a seeker

of enchanted unicorns (as Shidoshi

Alfredo Tucci called me) I found

swindlers and charlatans, but also good

people and good teachers.”

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In this fourth work, Justo Dieguez, creator of the Keysi

Fighting Method, focuses on the area of grabs and traps.

We will see 10 technical sequences in which the grab,

the trap, are the objective, although it will be treated

as a consequence. At KEYSI we do not think

beforehand about performing a grab, it is

something that will be the

consequence of a certain situation.

In a risk situation, your senses

connect you with your

environment, you are pure

instinct, auditory, visual and

contact. This ability allows

you to focus your

concentration, recognize

your surroundings and

decide what actions to

take. It is you with your

mental capacity that makes

everything a weapon, a wall,

a corner, a step, etc. On the

street, in a real situation, the

rules don't work. With

technique you are not going to

achieve your goals. Technique is

that bridge that will get you to the

target, but it is not the target. In a risky

situation, instinctive responsiveness has

to prevail over technique. When you train with

this mentality you know that a millisecond can be

vital. You understand that you don't have the possibility

to extend the time, that you can't play on your

opponent's patience or ability to manipulate him. You

understand that you are at a complete disadvantage,

that your response must be explosive and that you have

to get out of there.

All DVDs, wichi is produced by Budo

International, si provided and alone in the

formats DVD-5 or MPEG-2, in VCD, DivX or the

like is however neves offered with a special

holograma sticker. Besides our DVD is

characteristed coverings by the hig quality in

pressure and material. If this DVD and/or the

DVD covering do not corespond to the

requirements specified above, it concerns illegal

pirat copy.

ORDERS:

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The Problem of Deception in Martial

Arts: Why I Created CDC

The Reality of Deception in Martial

Arts

Deception has become an unfortunate

part of life, particularly visible

in marketing. In the martial arts

world, this manifests in various

ways - from staged demonstrations

of breaking boards and bricks to falsified

credentials and appropriated

techniques. We frequently see practitioners

presenting themselves with

supposed superpowers or claiming

abilities beyond reality to attract

students.

The Crisis of Credibility

In traditional martial arts, becoming

a grandmaster required decades

of dedication and experience.

Today, however, we witness a troubling

trend where young practitioners

receive "lifetime achievement"

awards at age 10, reflecting our

modern "fast food" culture of instant

gratification. This degradation

of standards extends beyond just

martial arts - we see people obtaining

fake PhDs from questionable

universities, and if this happens in

academia, it becomes even easier in

martial arts where there's no standardized

oversight.

The Challenge with Existing

Systems

Take Krav Maga as an example. When people

market "Krav Maga for kids," they create a fundamental

contradiction - how can you teach a military

combat system designed for soldiers to children?

This kind of misrepresentation misleads students

and dilutes the authenticity of martial arts training.

Why I Created CDC (Close

Distance Combat)

After nearly 35 years of teaching Kapap and building

the IKF (International Kapap Federation), I witnessed

countless individuals misappropriating

established names and systems. This led me to

create CDC - Close Distance Combat - as a new,

clearly defined system. Unlike other martial art

names that lack clear ownership or have complicated

histories, CDC is my original creation with established

standards and principles.

“Just as not

everything with

four legs and a

tail is a dog, not

every defensive

system is the

same, despite

surface

similarities”

The Importance of Authenticity

Just as not everything with four legs and a tail is

a dog, not every defensive system is the same,

despite surface similarities. This distinction matters

because it affects how we teach and what

students learn. When I previously taught Kapap, I

chose that name specifically because it was distinct

from Krav Maga, helping avoid confusion

and misrepresentation.

My Commitment to Honest

Teaching

The most crucial responsibility of a martial

arts instructor is honesty with their students.

This commitment to truth and authenticity is

why I stepped away from teaching other Israeli

martial arts to focus solely on CDC - a system

I created and can honestly represent. Under

CDC, when we develop programs for different

groups (like children), we adapt the training

appropriately without compromising the system's

integrity or misleading students about

what they're learning.

Moving Forward

Anyone claiming to teach CDC without proper

authorization is misrepresenting themselves

and the system. By establishing CDC as a

new, clearly defined system, I aim to maintain

high standards of instruction while preventing

the kind of misrepresentation that has become

too common in martial arts. My goal is to preserve

the integrity of martial arts training

through honest instruction and clear lineage.

Under the Combat

Development Center and

Close Distance Combat , we

offer several course tracks:

Short Courses:

- Kapap Security

- Krav Maga Army

-Defensive Tactics

-command Post

-High Risk Entry

- VIP Protection

- Fire arms primary and secondary

- Surveillance and Counter-surveillance

- Security Risk Analysis and Management

Different Tactical and specialized

training

Our core martial arts program focuses on

Israeli Jujutsu, which differs from Army Krav

Maga Police Havana Hatsmit ( Defensive

Tactics)While both are Israeli martial arts, our

Israeli Jujutsu program adapts techniques

from various martial arts, creating a comprehensive

system specifically designed for

security applications.

Students can progress through different

levels of training:

1. Beginning with Israeli Jujutsu as the foundation

2. Advancing to Brazilian Jiu-jitsu (under the Machado system)

3. Learning traditional Japanese Jujutsu

This integrated approach combines elements from all three disciplines,

offering students both short-term training options and opportunities

for lifelong study in martial arts and security disciplines.

Our Integrated Jiujutsu be highest level and also be offering Edge

weapon and blade and swordsmanship.

“A lie gets halfway around the

world before the truth has a

chance to get its pants on.”

Winston Churchill

“Half a truth is often a great lie.”

Benjamin Franklin

“A lie told often enough becomes

the truth.”

Vladimir Lenin

“The main difference between a

cat and a lie is that a cat only

has nine lives.”

Mark Twain

The Academy of Martial Movement, fusion

of the knowledge of Kyusho Jitsu and Tuite

Jitsu of M° Frisan Gianluca together with

the knowledge of the Art of Movement of

M° Pascut Fulvio, continues the technical

progression in the training of high level

martial instructors and makes available to

all the universal principles hidden in the

movements of internal and external

martial arts, unifying them and

focusing them on precision, to

bring Kyusho to a new level. In

this 3rd volume, we will continue

with a detailed study of the

pressure points of the head,

exercises and technical

efficiency, ways to make the

force penetrate the opponent's

body ... but not only that, we

will understand that really

“stun” an attacker can be

simple and effective. Before the

analysis of the pressure points,

their location, the best angle to

strike, rub, manipulate ... we

continue with the principles of

martial movement, a unique feature

of our academy. The next step is to

understand how the transmission of this

force occurs, how to charge the “potential”

blow and unload it on the opponent. Block by

block, internal and external work on our body will

make our body structure and alignment a sharp tool

to utilize 'force multipliers' at the Kyusho points. The

devastating effectiveness of Kyusho is now further amplified,

with aspects that can be concretely enhanced and trained,

regardless of external and immutable aspects such as our

opponent's 'sensitivity' to Kyusho attacks!

obcKW=√ hcofp^kJV

All DVDs, wichi is produced by Budo International, si provided and

alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is

however neves offered with a special holograma sticker. Besides our

DVD is characteristed coverings by the hig quality in pressure and

material. If this DVD and/or the DVD covering do not corespond to the

requirements specified above, it concerns illegal pirat copy.

ORDERS:

Budo international.com

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“The Key to the Universe…” (1)

Discovering Truth Through Self-Reflection

At the core of human existence lies a profound question: What is

truth? This question has guided me throughout my life, shaping my

thoughts, actions, and beliefs. For me, understanding the world begins

with understanding the self. The journey toward truth is deeply personal,

and it requires us to navigate through a maze of external influences,

inherited knowledge, and societal expectations.

Over 30 years ago, in my twenties, I created a quote that I didn’t fully

understand at the time but felt compelled to express:

“The key to the universe lies dormant within the self,

waiting to awaken through self-discovery."

Back then, this statement was more a spark of intuition than a concrete

realization. I didn’t yet have the tools or life experience to fully

grasp its implications. Now, in my mid-life, I have revisited these words

and see how profoundly they resonate with my personal journey and my

evolving understanding of the Truth.

The Essence of Truth and Belief

Truth is not a simple thing. It demands a foundation—a

belief that anchors it. But in today’s

world, we are inundated with information and

misinformation, truths and half-truths, facts and

interpretations. How, then, do we discern what is

true? This question pushed me to embark on an

inward journey, to discover what lies beneath the

noise of the world.

To begin, I posed two fundamental questions

to myself:

• What do I know with absolute certainty?

• What is real to me, as opposed to what I

have merely been told?

This simple yet profound inquiry led me to a

startling realization—most of what I had believed

to be true was not the result of my own direct

experience, but rather a collection of inherited

ideas, passed down through generations like an

heirloom of knowledge. From the moment we

are born, we are immersed in a world shaped by

the beliefs, interpretations, and understandings

of others. We are taught history, science, morality,

and countless other principles, all of which

have been filtered through the minds and perspectives

of those who came before us.

These teachings become the foundation upon

which we build our understanding of the world,

yet they are, ultimately, secondhand knowledge.

We were not present when the events of history

unfolded. We did not conduct the scientific

experiments ourselves. We did not experience

firsthand the moral dilemmas that shaped ethical

frameworks. What we consider “knowledge” is,

in reality, a tapestry woven from the discoveries,

perceptions, and convictions of others.

And while these inherited truths may offer

structure and guidance, they are not intrinsically

our own. They were not born of our direct experience,

and because of that, they often lack the

depth of personal resonance required to be

fully internalized. Moreover, if we accept these

truths without scrutiny, we risk mistaking familiarity

for certainty.

Furthermore, even if we were present at the

moment something occurred, how can we be sure

that what we saw was, in fact, the truth?

Perception is fallible, shaped by our biases, emotions,

and limited point of view. Two people witnessing

the same event may recall it differently—so

what, then, is the ultimate reality? This leads to an

even deeper question: Is there such a thing as

absolute truth, or is all knowledge subjective, colored

by the lens through which we see the world?

This process of questioning does not lead to

nihilism but rather to clarity—an awareness that

true understanding requires more than passive

acceptance. It demands active engagement, personal

exploration, and a willingness to question

even our most deeply held beliefs. Only then can

we begin to distinguish what is merely inherited

from what is genuinely known.

The Plurality of Paths

Throughout my career, I have had the privilege of

leading a large martial arts organization—one built

upon the mastery of over 4,000 techniques. For

many years, I was driven by a singular vision: to

establish a standardized, definitive method—a

"correct way"—that would bring clarity, order,

and efficiency to the practice. I believed that

a unified system would create consistency,

ensuring that every practitioner followed

the same structured path to mastery.

But as time passed, a profound realization

took root: there is no single way.

For every individual, there exists a distinct

approach, a unique rhythm, an interpretation

shaped by personal experience,

perception, and understanding. If there are 8

billion people on this planet, then there are,

paradoxically, 8 billion paths to truth. Each

person walks their own journey, yet the aspirations

that drive us remain remarkably similar—we

all seek meaning, purpose, and fulfillment.

The challenge, then, is not in following a

prescribed path, but in discovering our own amid

the countless methods the world presents to us.

This understanding transformed not only how I

approached my work but how I viewed life itself.

Instead of striving to impose a rigid framework, I

began to honor the diversity of experience—to

recognize that no single system, no single perspective,

no singular truth can fully encapsulate the

depth and complexity of human existence.

Yet, this realization also brought forth an equally important

question: If there are infinite interpretations, how do we

avoid complete chaos? If 4,000 techniques are subject to 8

billion perspectives, the result is an unfathomable number

of variations—so vast that it becomes unmanageable, even

incomprehensible.

Thus, there must exist a single, objective reference—one

unwavering foundation against which all interpretations can

be measured. Without it, we risk losing ourselves in an

ocean of subjectivity, where meaning dissolves into disorder.

The true question, then, is not whether multiple paths

exist—they clearly do—but rather:

What is the ultimate reference point?

What is the singular truth that provides structure without

limitation, guidance without restriction? The answer to this

question determines not only how we navigate martial arts

but how we navigate life itself. It is the compass by which

we align our personal journey with something greater than

ourselves—something that transcends individual perception

and anchors us to what is real.

To seek this reference is not to deny the beauty of diverse

perspectives but to ensure that, in our pursuit of personal

truth, we do not stray so far that we lose sight of truth itself.

The Nature of the Self

In my search for truth, I turned inward, exploring the nature of the self. I came to realize that the self is not a singular,

monolithic entity, but rather a complex interplay of three essential components—each with its own role, strengths,

and limitations:

1. The Mind – The seat of logic and reason, the conscious mind serves as our interpreter of reality. It organizes, categorizes,

and makes sense of the world around us. While an invaluable tool, the mind is not infallible. It is susceptible to distortion,

weaving narratives that align with its own biases, fears, and desires. It seeks control, rationalizing and justifying

rather than revealing pure truth. In its pursuit of certainty, the mind often constructs illusions, mistaking them for reality.

2. The Heart – The subconscious mind, which I believe resides

within the heart, is the emotional and spiritual core of our being.

This is where the soul whispers, where our deepest motivations,

fears, and longings reside. Unlike the mind, which filters everything

through reason, the heart perceives truth through feeling,

intuition, and instinct. It harbors our rawest emotions, unfiltered

by logic—both profound love and profound darkness. It is here

that our hidden truths, our suppressed desires, and the weight

of our inner struggles lie waiting to be unearthed.

3. The Spirit – Beyond both mind

and heart, the spirit is the essence of our

being—the eternal thread that connects us

to something greater than ourselves. It is

the bridge between thought and feeling,

the conduit between our finite existence

and the Infinite, between the self and God.

While the mind seeks logic and the heart

pulses with emotion, the spirit calls us

toward transcendence, toward truth that

exists beyond individual perception. It is

through the spirit that we move past illusion

and align with something unshakable,

something absolute.

Through this exploration, I came to a

sobering realization: while the conscious

mind often deceives us, the heart reveals

what is real—not necessarily objective

truth, but the truth of our own nature. The

heart lays bare our truest intentions, our

hidden motivations, and the raw, unfiltered

essence of who we are beneath the layers

of conditioning and societal expectation.

Yet, what it reveals is not always comforting.

When we delve deep into the heart, we

do not always find light. More often than

not, we uncover the shadows—the darker

aspects of our nature that we suppress or

refuse to acknowledge. Beneath the surface

of our constructed identities lie impulses

of greed, envy, fear, resentment, and

desire. The heart exposes the unvarnished

reality of our subjective truth—a truth that,

left unchecked, can be selfish, malevolent,

even destructive.

This discovery is unsettling, but it is

necessary. Only by confronting the darkness

within can we move beyond it. Only

by acknowledging our personal, subjective

truths—both the noble and the

corrupt—can we begin the journey

toward a higher truth, one that is not

merely shaped by our emotions, but illuminated

by wisdom, by discipline, by the

spirit’s connection to the divine.

Thus, the path to truth begins not with blind acceptance, but with the courage to see ourselves as we

truly are—to embrace the full spectrum of our being, knowing that transformation is only possible when

we bring what is hidden into the light.

The Corruption of Innocence

As children, we are born with innocence. We view the world with wonder and curiosity, unburdened

by the weight of knowledge or societal expectations. But as we grow, this innocence

is gradually replaced by conditioning. We are taught rules, norms, and beliefs that shape

our understanding of the world.

This process mirrors the biblical concept of original sin. Traditionally, original sin is

seen as disobedience to God. But I propose a different interpretation: original sin

is the failure to take accountability for our actions.

Consider the story of Adam and Eve. When confronted by God, Adam blamed

Eve, and Eve blamed the serpent. Neither took responsibility for their

choices. This failure to accept accountability is, I believe, the true original

sin—and it continues to shape our behavior today.

When we fail to take responsibility for our actions, we lose the

ability to learn from them. We perpetuate cycles of blame,

misunderstanding, and suffering.

Uncovering Personal Truth

To live authentically, we must break free from the inherited truths of others and uncover our own.

This requires deep introspection and an unflinching willingness to confront our fears, desires, and

motivations.

True knowledge comes from experience. It is not enough to hear or read about something; we must

live it, feel it, and internalize it. Only then can it become part of our personal truth; the one we are fully

responsible and accountable for with no one, nothing external to blame.

The journey inward is not easy. It demands honesty, courage, and a willingness to embrace uncertainty.

But it is through this journey that we discover who we truly are and what we truly believe.

Sumigaeshi: Understanding from Suiheinuki in Battōgaeshi

(Kenki ni Sakusu / Ki wo Mite Nasu) - “Perceive the

opportunity and act” - Yagyū Munenori in Heihō Kadensho

As Yagyū Munenori taught: “The wise man's sword cuts even

before it is drawn - for he has already seen the ‘ki’ in the enemy's

heart.”

Introduction

The expression (read Kenki ni Sakusu or Ki wo Mite

Nasu in Japanese), of classical Chinese origin, is a strategic principle

that literally translates as perceive the opportunity and act.

(Kenki ni Sakusu) presents itself as a classic, more abstract

term, emphasizing the simultaneity between perception and action

(seeing and then acting).

The term is dealt with in the work Heihō Kadensho by the samurai

Yagyū Munenori in 1632 and, in the context of traditional

Japanese arts, this concept can be interpreted from the emphasis

on reading the opponent and responding strategically at the right

time. This is directly related to Battōjutsu techniques, where action

is not rushed, but precisely and opportunely executed.

(Ken) means: “See”, “Observe”, “Perceive” and represents the

idea of seeing or recognizing something before acting.

(Ki) means: “Opportunity”, “Right moment”, “Machine” (depending

on the context). Here, it refers to the concept of “strategic

opportunity”, the right moment to act.

(Ji) means “And then”, “Therefore”, “Logical connective”, functioning

as a link between the perception of the opportunity and the

action taken.

(Saku) means “Do”, “Create”, “Act” and indicates action that is

taken at the right time.

The term can be interpreted as “Ki wo Mite Nasu” (

), as both express the idea of acting at the right time based

on observing the situation. It can be literally translated as “See the

opportunity and then act.” and can be interpreted as the importance

of observing the situation, recognizing the right moment and

taking the appropriate action. The expression presents itself as a

more direct, more practical, more colloquial version, where the logical

sequence stands out: first observe, then act.

There is also a more philosophical and modern interpretation of

the expression where, in the latter context, the phrase reflects the

essence of Hyoshi () - timing - in traditional Japanese arts:

- (Ki) is ephemeral - it lasts less than the blink of an

eye. '

- (Mite) requires zanshin (continuous attention), a

state of alertness without tension.

- (Nasu) requires mushin (empty mind), where action

flows without hesitation.

Introducing Sumigaeshi in Battōjutsu

Battōjutsu, a traditional Japanese art focused on the

technique of drawing the sword while cutting, presents us

with the study of elements that express fundamentals that

have been established and discussed at historical, philosophical

and strategic levels, as well as others. This collection

of traditional content includes Sumigaeshi - a practice that

combines anatomical precision, combat strategy and

advanced thinking. We will present the essence of this technique

(from Suiheinuki), its etymology and execution, revealing

why it is so unique within the martial arts universe.

The word Sumigaeshi comes from a combination of

Japanese terms:

- Sumi (): chant.

- Gaeshi (): to return (from Kaeshi or Kaeru).

The literal translation would be “to go back, to return from

a corner”, but its technical meaning transcends simple

interpretation. In the context of Battōjutsu, it refers to the

act of using the curvature of the Katana (Sori - ) as a

defense and counterattack mechanism, “returning” the

opponent's attack by moving the blade using the movement

of the body to pierce the opponent.

In this way, the term Sumigaeshi ends up resulting in the idea of “returning,

returning or returning through a corner”. This technique has peculiar

characteristics when studied in the context of Battōjutsu. It should be noted

that, if performed in other disciplines, such as Kenjutsu or Iaijutsu, the technique

would take on different interpretations, showing how the context shapes

the technique.

This observation is necessary because if Sumigaeshi were analyzed in the

context of Kenjutsu or Iaijutsu, its application, interpretation and explanation

could vary considerably, both in historical and anatomical terms. For

this reason, we will deal specifically with the understanding of Sumigaeshi

in the context of Battōgaeshi, where the technique stands out for its fluidity

and the dynamic use of the body in the extraction and use of the sword.

The Mechanics of Movement: Suiheinuki and Care for the Saya

Sumigaeshi begins with the movement called Suiheinuki (), a term

that means “to draw horizontally”. In it, the Katana is positioned horizontally

at the waist, with the sword aligned with the hip. Thus, to perform the movement

in Suiheinuki, the Katana will be positioned at hip height and will be

drawn laterally, from the horizontal position of the Katana.

In order to perform Suiheinuki correctly, some care must be taken, especially

at the moment of Sayabiki ( - the moment when the sword is

extracted from the scabbard), because the Katana can get caught in the

hakama, due to the twist that the saya and hakama get when positioning for

the suihei draw. In this case, the movement would be impaired because the

draw could not be carried out as efficiently as expected, since the sword

would be stuck, trapped by the hakama, making it difficult to execute the

sayabiki in a clean, fluid and continuous manner. To prevent this from happening,

it is important for the practitioner to observe a few important points:

1. Initial positioning: The katana should be slightly projected forward, in

the omote position, facing your body, then rotate the shaft and place the

sword in the horizontal suihei position, to allow the curvature of the blade to

slide unobstructed.

2. Extraction: When drawing, after passing halfway through the blade,

the body - not just the arm - becomes the engine of the movement.

Therefore, when more than half the blade is out of the daya, use the body

as a mechanism to finish the draw, the extraction of the Katana. This final

positioning avoids taking the Katana beyond the opposite hip, keeping it

in a controlled line.

3. Positioning: After the extraction, the Katana should be positioned - without going forward - on the other side of the hip,

i.e. on the right side of the hip, since the serve was made with the Katana coming out from left to right. The final position

of the Katana, now drawn, is shown with the tsuka and tsuba aligned sideways next to the hip and the hara horizontally

with the blade following this horizontal trajectory, with the Kissaki pointing forward.

4. Finishing: As we've said, a common mistake for beginners is to neglect the positioning of the Saya, which results in it getting

tangled up in the Obi or the Hakama, compromising fluidity. The solution in this case is to practice using the body as an

ally to perform the serve. The body also plays an important role in finishing the Sumigaeshi because, after positioning the sword

in Suihei and pointing it at the opponent, the practitioner must move their body and torso forward, taking advantage of their

weight and inertia to finish the cut, instead of using only their arms, which in the latter case makes the technique inefficient.

Uchi Sumigaeshi and Soto Sumigaeshi: Differences in Execution between

the Right Side and the Left Side in Relation to the Opponent.

An interesting aspect of Sumigaeshi execution is the difference between

performing it from the right or left side, in relation to the opponent's

attack. This variation will directly influence the effect of the technique on

the opponent, mainly due to the natural curvature of the Katana.

When Sumigaeshi is performed from the right side, i.e. by drawing the

sword while moving in that direction, the curvature of the blade tends to

penetrate and go deeper into the opponent's body. This positioning is

known as Uchi Sumigaeshi (). In this case, the curvature concentrates

the force at the point of impact, increasing penetration (like a dagger).

On the other hand, when the technique is executed from the left side, the

effect is different, as the Katana, instead of going deeper into the opponent's

body, tends to go through it and out, in other words, the curvature distributes

the energy along the blade, creating a fluid cut. This positioning is

called Soto Sumigaeshi ().

Understanding the Application of Sumigaeshi against Kirioroshi (

) and Makkōgiri ()

When applying Sumigaeshi in a combat context, it is essential to consider

the distance and the opponent's action. If the opponent is executing

a downward strike (Kirioroshi) or a frontal attack (Makkōgiri), the response

must be adjusted to take advantage of the opening created by

their movement.

By moving out of range of the enemy's attack and positioning themselves

strategically, the practitioner can use Suihei to position the Katana at an

ideal angle, allowing the opponent to advance directly against the drawn

blade. At this point, the sword should be aligned horizontally with the hips

and hara. Contrary to what many people imagine, the intention is not simply

to strike the Katana with the movement of the arms, but to use body movement

to maximize the effectiveness of the cut. In this way, the body moves

towards the opponent, intensifying the penetration of the blade.

In other words, the Sumigaeshi is extremely effective against attacks such

as the Kirioroshi or the Makkōgiri. The key to its successful application lies

in timing and distance control. When dodging an opponent's blow, the practitioner

uses Suiheinuki to position the Katana in the opponent's path. With

the synchronized movement between body and blade, the defense is transformed

into a fluid and precise counterattack. Thus, the sword, once sheathed,

is now pointed at the opponent, while the body advances in perfect

harmony, turning the defense into a decisive attack.

Physics in Sumigaeshi: An Analysis from the Perspective of Classical Mechanics and

Vectors in Opposite Directions

The execution of Sumigaeshi can be understood not only from a martial perspective, but also

in the light of the principles of mechanical physics. One of the fundamental concepts involved in

this technique is the interaction between force vectors in opposite directions, which directly

influences its effectiveness and strategic application in combat.

In Sumigaeshi, the Katana does not act alone. It is part of a system where the practitioner's

body and the opponent's movement interact as opposing forces. To understand this, we need to

resort to the concept of vectors - quantities that have direction, direction and intensity.

When the practitioner performs Sumigaeshi, he generates a force vector with his own body,

directing his energy forward. At the same time, the Katana, when drawn and positioned

correctly, creates an opposing vector, which acts against the opponent's movement. This

interaction of opposing forces enhances the impact of the blow, making it more efficient with

minimal physical effort.

1. Opponent's vector: When the opponent attacks (e.g. with a Kirioroshi), he applies a force

towards the practitioner. This movement can be represented by a vector pointing downwards and

forwards.

2. Practitioner's vector: When performing Sumigaeshi, the practitioner deviates sideways (to

the right or left) and draws the Katana in a horizontal trajectory. Here, the force applied is perpendicular

to the opponent's attack, creating an opposing vector.

3. Resultant: The interaction of these vectors generates a resultant force that “returns” the

blow, using the opponent's energy against itself. This is physics in action: action and reaction, as

taught by Newton.

In addition, the correct displacement of the body's center of gravity plays an essential role in

the application of this technique. The biomechanics of Sumigaeshi require the practitioner to

align their movement fluidly, ensuring that the transfer of energy occurs optimally. When executed

with precision, the proper use of force vectors allows a defense to turn naturally into a lethal

counterattack.

Curvature (Sori) also acts as a force multiplier, since the Katana is not a straight blade. In Uchi

Sumigaeshi (Right Side) the sori concentrates the force at one point, increasing penetration. It's

like a lever that transforms the rotational energy of the hip into linear force. In Soto Sumigaeshi

(Left Side), the curvature distributes the energy along the blade, creating a fluid, transverse cut.

On a biomechanical level, in Sumigaeshi the practitioner's body presents itself as a system of

levers that amplifies the force, because the hip (Koshi) acts as an axis of rotation, transferring

energy from the ground to the blade. The arms and shoulders act as extensions that direct the

Katana's vector and Hara maintains balance, ensuring that the force is applied with precision.

It can be seen that understanding the physics behind Sumigaeshi not only improves its application,

but also deepens the practitioner's perception of the efficiency of the movements. The

synergy between body mechanics and the energy of the blow reflects the sophistication of this

technique, demonstrating that, in the art of the sword, science and strategy go hand in hand.

For a visual understanding of the elements covered in this article, we recommend watching the

video: Ogawa Ryu - Battougaeshi Class Sumigaeshi - Shidoshi Jordan Augusto

Excellent Explanation!, available at:

https://youtu.be/uM2tk_C-z4I?si=KWw19W3JkUEvuhDN

Royce Gracie: The best MMA fighter

of all time?

Royce Gracie has represented his

Jiu-Jitsu family on an international

level for many years. His name is

also closely associated with the

beginnings of modern MMA and with

the Ultimate Fighting Championship

(UFC). To this day, he has established

himself as an outstanding champion

and is unrivaled in this position.

It is fair to say that he has demonstrated

his skills in a unique way.

There is no denying that the fights in

the early days of the UFC were of a

completely different quality than

they are today. In those days, the

aim was to determine which fighting

style proved to be superior. Many

martial arts styles were unwilling to

undergo this ultimate test. The fear

of losing their reputation was too

important for them.

Today, I refer to the UFC as a

kind of “fighters' talent” show, in

which the athletes are tested

rather than the styles/systems.

Even now, athletes are undergoing

training that allows them to master

the full spectrum of requirements.

In the past, fighters were

so exaggerated by their styles

that some wanted to have everything

sorted out in stand-up fighting

(like a boxer) but were caught

up and had to realize that ground

fighting (from Wrestling, Judo or

even Jiu-Jitsu) was not to be underestimated.

Grappling experienced a new heyday, which

originated in Brazil but had not yet arrived in

Europe. Another significant influence came

from the USA, where the importance of

Grappling styles for Europe was rediscovered.

The previous emphasis on Boxing, Kung-fu

and Karate led to the neglect of Jiu-Jitsu and

Judo, which had been of outstanding importance

in Europe. In fact, not only did Jiu-Jitsu

benefit from this wave, but wrestling and judo

also experienced a renaissance, and people

became more interested in these arts again.

Some sought to broaden their horizons,

while others aimed to create an “anti-grappling

style”, which was not crowned with success.

The so-called “anti-experts” also developed a

great interest in Grappling over time and completed

corresponding training programs. Two

groups of players can be distinguished:

Traditionalists, who move with the times, and

those who miss the boat and sooner or later

die out. In a modern society, representatives of

the “anti” movement are no longer in keeping

with the times. The leading representatives of

the various martial arts are aware that sustainable

further development of their

styles/systems is only possible if they face up

to the demands of modern times. It is not

necessary to destroy or even reinvent existing

concepts, but merely to recognize existing

concepts and act accordingly.

“Today, I refer to the UFC as

a kind of “fighters' talent”

show, in which the athletes

are tested rather than the

styles/systems.”

Back then, Master Royce Gracie carried the entire

weight of an entire dynasty on his back, which

was undoubtedly a great burden. However, he

managed to cope with this burden thanks to his

knowledge and the support of his family.

At home there was only Jiu-Jitsu!

When I stood on the tatami with Master Royce for

the first time, the UFC did not yet exist. I first heard

the word “MMA” (which stands for Mixed Martial

Arts) in an American magazine, where it was mentioned

in the context of the movie “Bloodsport”. I

will also write a report on this in due course. At the

end of the 1980s, I trained at the “Gracie Garage” in

Manhattan Beach, California, together with the

Brazilian Jiu-Jitsu brothers, who even then had a

completely different view of fighting and competition.

It is remarkable that Royce, of all people, was

the one who pushed himself least into the foreground.

His manner was characterized by a remarkable

composure, so that one always had the

impression of training with an expert who not only

had in-depth knowledge, but also the ability to

practice down to the last detail.

I once asked him when he started jiu-jitsu. His

answer, accompanied by a broad smile, was: “I

don't know exactly myself, because there were no

other activities in our family.” The memories of most

of the Gracie’s who belong to this generation will

always bear witness to the fact that they wore their

first kimono (Gi) before they learned to walk.

“Royce Gracie has

represented his Jiu-Jitsu

family on an international

level for many years. His

name is also closely

associated with the

beginnings of modern MMA

and with the Ultimate

Fighting Championship

(UFC).”

No time to think too much!

At an early stage, I was told by Royce that I should concentrate

on the essentials and not spend too much time

thinking. My body would soon be under a lot of pressure,

which is significant in a real fighting situation. “It's not a

boxing match where you can do a few dances moves first

and then take your time to hit your opponent.” The basic

tactics are relatively simple, but a certain amount of time is

required to learn the individual sequences and techniques.

The exercises were always performed with the utmost

precision and care, without forcing the pace. The human

body needs this amount of time to process the new information

and assimilate the techniques. This was the decisive difference.

Royce was able to win all UFC fights. The art of

controlling his opponent without putting himself in danger

can be described as one of the recipes for success. Royce

was also always able to use the element of surprise to his

advantage.

Back then, as well as today, the question is repeatedly raised as to whether Jiu-Jitsu is the best martial art. Some say

yes, others say no, because they don't really have ground fighting in their repertoire. It is true that fighting rules already

existed at that time, but they were very limited, which led to a high level of brutality. However, this was the only way to

demonstrate the principles and techniques of Jiu-Jitsu.

In the USA, the UFCs were the first events of this kind, but similar events had already been taking place in Brazil for

many years under the name “Vale-Tudo” (Portuguese for “everything is allowed”). The Gracie’s therefore had a considerable

advantage of knowledge, as they were familiar with the expected results of such fights. The rest of the world was still

convinced that the MMA fights would resemble a cinematic production. As we believed, Bruce Lee and Jackie Chan had

already shown us! However, this assumption proved to be incorrect.

Even the styles of western Boxing, Thai boxing (Muay Thai)

and other ring sports had not reckoned with Gracie Jiu-Jitsu

and had to accept a quick defeat. Even at the Gracie Jiu-Jitsu

Academy in Torrance, after the first UFC event, the necessity

of such an event to present a martial art like “Brazilian” Jiu-

Jitsu was discussed. Some expressed the opinion that this

type of “promotion” was too aggressive and brutal, while

others simply stated that such an approach was the best way

to demonstrate which martial art was superior.

“It's not a boxing match where you

can do a few dances moves first

and then take your time to hit

your opponent.”

“It is therefore essential to include renowned masters

such as Royce Gracie in our community, as none of us

can claim to have fully grasped all aspects of knowledge

and experience”

A third group of people expressed the opinion

that this is no longer a martial art. This performance

is more reminiscent of a street fight.

As a result, both the American government and

the sports committee banned UFC events from

being held in most states. The impact on younger

people was not considered enough at the

time. It can be stated that the crime rate in the

USA is not particularly low. Nevertheless, illegal

and often gang-organized cage fights became

established shortly after the UFC was banned.

In Brazil, this assessment led to the banning of

Vale-Tudo events as early as the late 1980s.

Money or family honor?

It can be assumed that Master Royce's motivation

to take part in the UFC was not primarily

due to the prospect of improving his financial

situation. The real reason is to honor the name

of his father and his family. Initially, it was assumed

that Master Rickson Gracie (the family's

champion at the time) would represent Gracie

in the UFC. However, Master Rorion Gracie had

plans of his own and wanted to see his younger

brother Royce Gracie fight in the Octagon.

What, you ask, led to this decision? The aim

was to demonstrate that a fighter like Royce

Gracie, despite his comparatively lighter

weight, would be one of the most dangerous

and best fighters in the world. Master Rickson

acted as coach for these fights as he had

extensive experience in this area.

To achieve this goal, Royce completed two

training sessions per week, which included

weightlifting, running, Boxing and strength training

in addition to Jiu-Jitsu. A month before the

first UFC, his brother advised Rickson to dedicate

himself completely to Jiu-Jitsu and stop all

other activities. He instructed him to concentrate

on his Jiu-Jitsu techniques and Royce followed

this recommendation.

They were all at Master Royce's side for support.

Furthermore, all the brothers and relatives

as well as all members of the academy in

Torrance were present. They had all turned up

to stand by Royce's side. Another advantage

was that he could already draw on numerous

students from other styles and systems at this

time. They not only appreciated his outstanding

technique, but also his personality. His character

was always characterized by extraordinary

patience and a friendly smile. Yes, he could be

described as hard-nosed, but he always proved

that he was a gentleman who followed the rules

of Jiu-Jitsu. There was never any reason to

assume that he would inflict unnecessary pain

on a student. Instead, he was always ready to

offer a tip or two on the path of personal development.

Visiting Germany and Switzerland again (for the 3rd time)

As the founder of the Jiu-Jitsu network Gracie Concepts®, I am particularly keen to invite Master Royce Gracie to a

seminar if circumstances permit. However, this requires the support of my Dojo partners. However, with the support of my

friend and network partner, Professor Thomas Mehnert, founder of the GJJ Team Berlin, this cooperation has been successfully

implemented in recent years.

Last year (2024) we had the privilege of also welcoming

Master Royce to Leipzig with our instructor

Grigori Winizki, founder of the Samurai Fight Team

Academy and representative of the renowned German

Top Team in Leipzig under Shihan Peter Angerer.

This path has been followed in Berlin for over 20

years, and in Magdeburg with professors Andre Stock

and instructor Jan Köthe for almost ten years longer.

As a result, Gracie Concepts® is also adequately

represented in Germany, especially as new teams and

Dojo partners have been acquired. As a result, the

Gracie Concepts family is experiencing healthy

growth. Gracie Jiu-Jitsu, especially in the form represented

by the Vacirca Brothers, gives today's grappling

and striking schools the opportunity to add a new

area to their range.

It is therefore essential to include renowned masters such as Royce Gracie in our community, as none of us can claim

to have fully grasped all aspects of knowledge and experience. No time should be wasted with people who are characterized

by insubstantial talk. People who disseminate questionable content on YouTube and similar platforms do not deserve

attention. This applies regardless of whether they are former students, trainers or black belt holders. They are advised

to stay away from these activities.

For those who want to learn the true Gracie Jiu-Jitsu, we, Gracie Concepts®, are an adequate, professional and familiar

partner. The realization of the above-mentioned goals requires not only a high time commitment, but also financial

means. The willingness to contribute financially is therefore a fundamental prerequisite for the realization of the desired

promotion of Gracie Jiu-Jitsu. To achieve this goal, no exceptions are made, as all members of the organization are considered

equal, and no one should feel that they are privileged in any way.

We are always interested in new collaborations

and ideas if they do not interfere with our vision of

Gracie Jiu-Jitsu. The Gracie Jiu-Jitsu we offer promotes

both physical and mental fitness. It is not

necessary to have superhuman physical strength.

Each participant can set their own pace to achieve

the desired goal.

It is advisable to take sufficient time for your

own needs, to pursue activities that promote your

own well-being and give you strength. At this

point, it should be noted that this is not just a

sporting activity, but a unit that goes beyond the

purely sporting aspect. The offer is therefore

aimed at people who also see added value in it at

an older age.

We are convinced that you are on the right track

with us and with us.

Keep It Real!

www.graciejiujitsu.eu

Traditional Siamese grappling, from the

battlefield to the ring.

The classic dichotomy between grapplers

(fighters who use wrestling as their

primary combat tool) and strikers (those

who use blows to defeat their opponents)

has been in use in professional Muay Thai

since a long time. Obviously, no skilled

Thai Boxer can reach the pinnacle of his

sport without a sound knowledge of both

grappling and striking techniques. In

fact, all high-level professional Muay

Thai fighters are very strong wrestlers

as well as outstanding strikers.

Among the very skilled ones, there

are a few who base their fighting

strategy on aggressive grappling

techniques supported by a powerful

secondary weapon. The support weapon

can be a heavy punch, swift

elbow techniques, a strong low kick

or a an assortment of throws. Some

of the most famous grapplers in

modern Muay Thai history who supported

their wrestling game with

strong boxing techniques, went on

to become professional world

boxing champions: the emblematic

example is Samson Isarn, former

Lumpini Stadium champion

who, after quitting Muay Thai,

became WBF world boxing

champion.

Among the great thai boxers with whom I had

the privilege to train with in Bangok at Pinsinchai

Gym, two were typical examples of Muay Thai

grapplers. The grappling style presently in use in

professional Muay Thai is a modified form of traditional

Kod Rad Fad Wiang, one of the two main

technical branch of ancient Muay Pram (Thai

warrior wrestling). The other branch is called Tum

Tap Chap Hak. The former is mainly focused on

wrestling holds aimed at keeping the opponent in

place, breaking his balance and striking with

knees and elbows. The latter includes a great

number of throws and joint breaking techniques,

presently forbidden in sport Muay Thai. In fact,

because of the introduction of modern rules,

most traditional wrestling techniques had to be

abandoned.

However, several effective holds and

some off-balancing and throwing techniques

are still used today by all pro

boxers. Both athletes I am talking

about based their fighting strategy on

a sound thai wrestling background.

Both were exceptional athletes. Both

were Rajadamnern Stadium champions

at the time of my stay. However,

each one of them displayed different

technical characteristics that made

their fighting style really unique. I learned

a lot from them and their grappling

styles became an essential part of the

basic skills I tried to teach my boxers

in the years to come. These two grappling

specialists’ ring names are

Thailand Pinsinchai and Sanken

Pinsinchai.

“The classic dichotomy

between grapplers

(fighters who use

wrestling as their primary

combat system) and

strikers (those who

employ strikes to defeat

opponents) has been used

in professional Muay Thai

for a long time”

Thailand Pinsinchai.

A smart fighter like Thailand Pinsinchai is the embodiment of the ideal combination between a skilled grappler and sharp

striker. His grappling strategy was very sophisticated: in fact, he oftentimes smartly combined wrestling holds with vicious

elbow strikes. While the opponent was busy defending himself from Thailand’s wrestling holds, one or more explosive

elbow strikes seemed to come out of nowhere, most of the times reaching the intended target in a blink of an eye. As a

result, his opponents were put in a constant state of anxiety, always guessing what would have been his next move. Here

is an example of his skill. In one of his famous fights at Rajadamnern Stadium he was facing a renowned knock-out artist

of the early ‘90s named Sukhothai Taxi Meter (who also became Rajamnern Champion). This thai boxer’s heavy punches

were feared by all top competitors of both Lumpini and Rajadamnern Stadium. Thailand Pinsinchai’s strategy devised to

defeat him was based on quick footwork, swift kicks to close the gap and an accurate clinch work aimed at neutralising

his opponent’s heavy artillery. One of the strategies used by our Champ in this instance was to trap the opponent’s arms

and throw the elbows. He often managed to pin an arm while holding the opponent’s neck and then repeatedly strike with

the elbow. All of these sequences of grabs and strikes were performed in less than 2 seconds.

His technical toolbox was completed by a

number of throwing techniques that he

employed when the opponent tried to overpower

him or charged him in a desperate

effort to overcome the barrage of his swift

attacks. In one case during the fight with

Sukhothai, against a rear leg power kick

Thailand managed to block the kick, grab

the attacking leg and counter with a lighting

fast cut kick to heavily throw the attacker to

the canvas.

In the later rounds, his furiously charging

opponent was thrown more than one time

without apparent effort when the Champ

simply chose to go with the flow and take

the attacker to the ground. Thanks to a tactile

sensitivity developed in countless

hours of clinch sparring, Thailand

Pinsinchai possessed instinctive reflexes

that allowed him to bend under

the opponent’s pressure and then

release the energy created by the

opponent’s attack with the greatest

fluidity and throw him.

“Some of the most famous

grapplers in modern Muay

Thai history who supported

their fighting game with

strong boxing techniques,

also became world champions

in professional boxing”

Sanken Pinsinchai.

Sanken was the epitome of the brave and strong professional Muay Thai grappler. In 1993 he was voted as the preferred

fighter by Thai young people. His fighting strategy was simple: from the start of the fight he moved constantly forward,

trying to get hold of the opponent in order to start throwing heavy knee blows all over his body. His extreme capacity

to withstand the opponents’ counter blows represented his support weapon. Being a pure knee strikes specialist,

Sanken concentrated all of his efforts in closing the gap and grabbing the opponent, not an easy task when you face a

top pro Muay Thai boxer. Therefore, much of his training was devoted to perfecting the aggressive footwork he used to

cut the ring and corner even the most elusive opponents (step 1).

Once the distance had been cut, the grappler has to apply one or

more entry strikes in order to pin the opponent into his position, allowing

the initial grabbing technique to be completed (step 2). In

Sanken’s case this entry strike was usually a middle range diagonal

knee strike or a short diagonal shin kick aimed at the opponent’s legs

or flanks. Other times, he reacted to the opponent’s offence by grabbing

the attacking limb (arm or leg) and then retaliating with hard knee

strikes aimed at the upper or lower trunk.

Step 3 in the grappler’s march to victory is the application of strong holds

to the arms, neck or body of the opponent. The execution of holds have

more than one purpose. The first one is to tyre a resisting and strong opponent.

The second objective is to inhibit the execution of the opponent’s

attacks, overwhelming him with continuous combinations of holds. The third

is to open the way to the actual execution of strikes or throws. This was one

of Sanken’s strong points. I personally witnessed the gruelling clinch-sparring

sessions between Sanken and a series of very strong grapplers at

Pinsinchai Gym. No less than 1 hour a day nonstop, when a fight was not

imminent. When the date of the upcoming fight had been fixed, the hours

devoted to that exhausting exercise became 2, per day.

Step 4. The final step is the actual series of knee strikes, a sequence of

heavy blows that can be aimed at the ribcage, sternum, liver, spleen, lower

abdomen, inner or outer thigh and in particular cases even at the head. No

need to say, hours of pad work with an expert pad-holder and many

rounds at the “tear drop” bag (a specific tool for neck holds and short

range strikes) are essential to develop the destructive power of a thai

boxer’s knee blows that can knock out even a pro fighter trained to withstand

full power strikes for five 3-minute rounds.

For more information about IMBA Muay Pram (traditional Thai Grappling):

IMBA Official website: www.muaythai.it

• Europe: Dani Warnicki (IMBA Finland) dani.warnicki@imbafinland.com

• South America: Juan Carlos Duran (IMBA Colombia) imbacolombia@gmail.com

• Oceania: Maria Quaglia (IMBA Australia) imbaaust@gmail.com

• General Secretary: Marika Vallone (IMBA Italia) imbageneralsecretary@gmail.com

Hapkido

Hapkido

Hapkido

Hapkido

Hapkido

512 Budo International Martial Arts Magazine April 2025

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