MAG AJL ONLINE NOVEMBRE 2016

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Your breaking skill is even documented in the Guinness Book of Records. Yes, I am in the Guinness Book of World Records. A TV crew consisting of a video man, soundman and reporter spent a day with me and taped me in my home, my office and on my job sites for the Guinness television show on the Fox network. A few days later, I flew to Los Angeles to shoot in the FOX studio for the Guinness Book of World Records. A representative from Guinness took me to the studio where I had to check all the materials that they provided. The next day, I rehearsed. The day of the performance, everyone was nervous. I asked everyone to leave my dressing room so that I could meditate and prepare myself mentally, physically and morally to perform. When I came out on stage, I noticed that the glass had doubled in size because of the way that it was set up, so it amounted to almost nine-inches. I was surprised but not worried. I thought that if this is what they want, let’s do it! prepared myself for my first fear, the flying jump kick I break. I knew that there was no room for error – especially with someone unfamiliar holding my boards. I successfully jumped – at least six or seven feet in the air – extended and turned my body sideways and snapped through the boards with one of the loudest kiaps I had ever yelled! heard the audience cheering for me as I prepared I for my next break, the glass break. There were four judges, one in each corner surrounded by Plexiglas, and five cameras with producers gave the audience members goggles incase glass flew in their direction. I could feel the vibration of the audience and they began yelling “Go, Maurice, go, Maurice.” 42 After meditating, I opened my eyes and I could feel the building shake. I kiaped, and my friend, Great Grandmaster Aaron Banks, who witnessed it, said that the break was “unbelievable” and that he was shocked and pleased when he saw that my hand was still attached to my body! How do you feel when you make a break like that? The thrill of a lifetime: mission accomplished, a dream come true. You can’t imagine the feeling at that moment – it is importantly satisfying.
GLASS BREAKING Where does your power come from to execute those incredible breaks? have seen very strong men in my life – some twice I my size – who cannot do what I can do. Inner power, some call it chiia, yaa or chi, exists in martial artists and is important to their practice of martial arts. That is why focus and meditation are important parts of one’s training – they generate power. In order to break or fight in a successful manner, one’s energy has to be in full force. It is from inner power that we successfully proceed in overcoming hurdles and the rough times in fighting, or the dangers posed by glass and other targets when breaking. Inner power comes from the soul and the heart. As an instructor, at what age do you suggest children begin breaking or fighting? young child shouldn’t break because the bone A structure is not fully developed. Age sixteen is appropriate for these activities. I see a lot of children breaking but I think that the boards have been doctored. Fighting is the opposite. I suggest children start fighting at a very young age, four or five-yearsold, because it enhances their minds’ ability to think quickly and builds their reflexes. Both activities are good preparation for school and for life. You have a signature punch that has come to be known as “the ultimate one” or the “bomb…” key technique in Tae Kwon Do and Karate is A the reverse punch. This is a good technique for power breaks. When I break five or six boards, I use all my secret techniques to build power in my body and mind to complete my right-hand punch. The first two knuckles line up along the grain of the boards and then I break them! The execution must be so precise and perfectly combine speed with the boards, you are taking the chance of breaking your arms, writs and knuckles. Speed and chi play a very big part in this break. Focus also is needed in this technique in order to punch with one’s ultimate power. One must pull the hand back as soon as possible after the break so that one does not push the nerves to the point where they just blow out and the hand is no longer in control. This is a very risky break and I have done it only three or four times in a major world championship. Size does not make one more capable of executing this break; it is the power. If this power was used against an opponent’s chest, stomach or ribs, it would definitely paralyze him. “Breaking is a demonstration of power, focus, speed, energy, skills, talent and outstanding fists!” says Maurice Elmalem 43
Page 1 and 2: M. DE CESARIS N°14 Novembre 2016 M
Page 3 and 4: 3
Page 5 and 6: UNE LEGENDE DU KARATE DO « C’ét
Page 7 and 8: UNE LEGENDE DU KARATE DO L' HERITIE
Page 9 and 10: UNE LEGENDE DU KARATE DO Formation
Page 11 and 12: UNE LEGENDE DU KARATE DO Voici l’
Page 13 and 14: CANNE DEFENSE THERAPEUTIQUE MAISONS
Page 15 and 16: HARAGEI RYU - Francis DE HEBLES Exp
Page 17 and 18: HARAGEI RYU - Francis DE HEBLES 17
Page 19 and 20: ORIGINES DU BOP Elles reposent sur
Page 21 and 22: PEDAGOGIE PROFESSIONNELLE Le plan d
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Page 25 and 26: 5 25
Page 27 and 28: Prima di entrare nell’analisi tec
Page 29 and 30: Inoltre un’analisi dettagliata de
Page 31 and 32: CLINIQUE DES JARDINS DE SOPHIA CARP
Page 33 and 34: UNITE DE SOINS DE CARPE DIEM ATELIE
Page 35 and 36: UNITE DE SOINS DE CARPE DIEM ATELIE
Page 37 and 38: Directeur Technique Pascal TABAGLIO
Page 39 and 40: Directeur Technique Pascal TABAGLIO
Page 41: FLYING FEATS Avec Jacques Levinet A
Page 45 and 46: Le Self Pro Krav Bouches du Rhone e
Page 47 and 48: Le Self Pro Krav Bouches du Rhone e
Page 49 and 50: SELF PRO KRAV CONTRE ARME D' EPAULE

MAG AJL ONLINE NOVEMBRE 2016

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