martial arts

Opening the Energy Gates of Your Body

2012-02-25T19:18:00.000-08:00

The chi kung system that BK Frantzis created is organized as a loop of 5 Elements, each set corresponds to Water, Fire, Wood, Metal or Earth. There are a lot of different reasons for this, and aspects to it. It's nice though because it makes it easy to see each part in relation to the others.

He took all the chi kung he learned from a lot of study and developed these five sets. The first set Opening the Energy Gates of Your Body is primarily based on exercises he learned from his first teacher Wang Shu Jin in Taiwan. Master Wang liked to stand a lot, so OEG begins with standing and relaxing as its basis. This is the healing aspect, designed to release stuck energy and clenched muscles in a natural way.

The next part of Opening the Energy Gates is Cloud Hands, which is a basic exercise from Wang's class. Taking the same ideas of dropping awareness and feeling "sung" in the body, you begin to work on twisting the muscles and shifting your weight. This is to gently wake up the body, engage the fascia and help the body become unified, connecting the legs and arms by way of the trunk and waist. All the most important alignments of the body are taught there.

Also part of the set are the Three Swings that Master Wang used to teach. These are good for loosening up the body, and begins to teach you about the Three Burners of the body. This is where you develop the smooth, soft and heavy slapping and striking power of internal martial arts. By the time you complete this set you have created whole body power, the ability to put your whole body weight behind a relaxed and casual slap.

The final piece is the Spine Stretch. Every one of the five sets in this system has a different aspect of spine chi kung. Spine Stretch is the first and begins the process of getting your mind into each of the vertebrae, and helping create a miniscule space between each one to improve spine health. The other sets go much further and deeper into working with the spine.

The five sets replicated BK Frantzis's journey in China. The first set comes from his first teacher Wang Shu Jin. Each of the other sets are composed of knowledge from one or more of his other teachers. The final set is Gods Playing in the Clouds, and was the primary practice of his final teacher Liu Hung Chieh in Beijing.

Overall I think it's an elegant and deep system, and well thought out. Obviously Kumar would be able to explain it way better than me, but I've gotten some of his ideas over the years. The five sets recapitulate his experience of learning chi kung, and in the same sense they form the pathway for his students to follow.

The first set is Opening the Energy Gates. Even the name is a pun on the Chinese idea of the teacher opening the gate for the student to enter. This is the public set, taught for the outdoor students and for the general public to get a good start on the thing. Not that the other stuff is better somehow, but if you were to learn just one set, this would be the one. It's for everyone. It can be done without (much) supervision pretty safely and gives good benefits. It's the most "external" of the sets.

The first set is all about alignments, knee safety, engaging the fascia as a whole, getting acquainted with the kwa and the spine. And on a energy level, the felt sense of your mind dropping through your body, actively letting go of tension. Again, this is to set the stage, to clear away the accumulated junk, to make a blank canvass upon which to work.

Once you have things cleared up, the actual training can begin. Most people don't need to go any further, this first set can give you everything you needed, unless you wish to achieve more in the realm of chi gung.

To take the next step, you learn the second set Spiraling Energy Body. This is the initiation into the indoor work, metaphorically. You can't do the later sets until you've activated your energy body with this second set. In the old days this is where the teacher would empower you to be a member of the family and participate in all the more intense work. You'd become a disciple, bow to the altar, hit your head on the floor, give the teacher a gold brick etc.

As a side note, Kumar doesn't take disciples, and teaches his whole system openly to just about anyone. So my metaphor here about "indoor" is my words, not his. He teaches everyone as if they are indoor students. Anyways, Spiraling Energy Body is where you go through each of the energy gates and fill them with energy. In a sense you've gotten your car built with the first set, now you fill it with oil and gas and rev the engine. One by one you've cleared the energy gates, now one by one you activate them with your mind. The energy of the earth is pulled up through the body centimeter by centimeter, always tempered by the dissolving that has been built into the system.

Spiraling Energy Body is the second set because it is essential to moving on to the rest of the system. The first set teaches the downward flow of energy. The second set brings the energy up, through every energy gate one by one, and filling each of the Tan Tians with your awareness.

The first set uses one basic standing posture to dissolve all your tension. Spiraling Energy Body adds 200 more postures, and each one is crafted to help build up the energy pathways in your body. Normally the teacher assigns specific postures to each student on a prescriptive basis so that they work on the pathways that need the most help. No one bothers to learn all 200 unless you were going to be a teacher.

This second set represents the Fire element, energy rising, filling and jumping from place to place. It can be dangerous if you try to rush it all up to your head at once, therefore it's essential to get the Water element in place first as a safety mechanism.

There is a HUGE amount that could go into this discussion, but obviously it's best talked about in person. As I said before, Kumar took all the stuff he learned over the years and put it into the sets in a logical grouping. Much in Spiraling Energy Body comes from the Taoist training he did in Taiwan and Hong Kong in the 1970's.

The third set is Marriage of Heaven and Earth where you work with the upward and downward flow of energy simultaneously. This is the set that represents the Wood element, living growing pulsing, opening & closing, the power of life between heaven above and earth below. That's a whole different practice and can't be fully experienced without the grounding of the first two sets.

Another aspect of the training is that Opening the Energy Gates contains all the basis for healing, Heaven and Earth contains the fulfillment of martial power, and Gods in the Clouds at the end takes you toward spirituality. It gets a lot more convoluted and interconnected than that, but these are just a few words on how Kumar's chi kung system is constructed.

Note that he has a list of 16 Nei Gung skills, that's the ultimate aim of the 5 sets, and each set specializes in some of those nei gung skills. The five sets were designed as a logical way to develop the 16 nei gung elements. Once you complete the 5 sets, you move on to the internal martial arts where you combine, mix and match the nei gung skills at full speed and under pressure.

Anyways, just putting some of these ideas out there, hope you find it interesting!

In terms of the spine chi gung, that's one of Kumar's favorite topics. One reason being he's had spine injuries and wanted to work toward healing them. Also because that's the center of your nervous system and the spine has to be fully awakened and enlivened to then move on to working with the brain. The first set has Spine Stretch, where you dissolve each vertebrae. The second set teaches you to pull energy up and into each vertebrae, and to spiral the chi between each one. The third set is all about pulsing the space between the vertebrae.

The fourth set is called Bend the Bow, Shoot the Arrow and is entirely focused on spine chi gung. At this point you begin to bend the spine in the shape of a "C", stretching the spine from the top of the skull to the tail bone. By now you've strengthened and opened the spine, so you can begin to work on moving each vertebrae, and getting in touch with the movement of the dura and spinal cord. This type of work is not to be trifled with, which is why each previous set builds on the last so you have a solid sense of being able to feel every nuance within your spine. If you try too hard or too soon you can crank it out of whack.

The fourth set Bend the Bow is also prescriptive, there are many many hand postures used to connect your arms to your spine and manipulate your spine with the pressure of pumping your arms. If one vertebrae needs to be moved, you'll use a specific posture and pump to being gently moving it to it's more natural position.

Eventually you can learn to move each vertebra individually and I've seen and felt people do it with more or less precision. This set can get extremely complex as you move from a general pumping of the spine and associated tissues to insanely precise workings of individual nerve clusters and vertebrae. If the early sets are more like fitness and overall health, this one is more like spine surgery, and requires a comparable level of training if you want to take it to the maximum. It's a deep well of knowledge, that can only be found through your own experimentation and experience. The set gives you the tools to explore, but you can only find the answers through your own efforts, which takes a lot of concentration and care so that you don't hurt yourself by overdoing it. Bend the Bow can be exhausting for this reason. Bend the Bow relates to the Metal element, which emphasizes the Spine and lungs, as this is where Reverse breathing is emphasized along with all the most advances spine training.

In terms of Kumar's sources for the sets, the third set Heaven and Earth is a generic chi kung form that he said he'd learned many times from many sources with many different variations. He made his the most basic and simple form, including Macrocosmic and Microcosmic orbit. The outer shape I suspect is a combination of many forms he learned and the inner nei gung work comes from the Taoists in Hong Kong and China he learned from as well as his chi gung tui na training there and in Beijing. Like I said, it's the most generic of the sets and a real combination of influences from all the different training he did.

The fourth set is Bend the Bow, and I think a lot of that comes from one of his chi gung tui na teachers in Taiwan, Huang Hsi I, who he profiles in his book. Ultimately he gives credit to his last teacher Liu Hung Chieh as the one who helped him put it all together and went through everything with him start to finish and make it all into one big whole. The final set is Liu's personal set that he learned at a monastery in Sichuan province, called Gods Playing in the Clouds. That's where Liu also learned Taoist circle walking which may be one of the influences that led Dong Hai Chuan to creating Ba Gua Zhang.

In Kumar's system, each of the sets also corresponds to the internal martial arts: Opening the Energy Gates emphasizes the softness and relaxed power of Tai Chi. Heaven & Earth teaches the opening and closing, explosive and growing strength of Hsing-I. Gods Playing in the Clouds focuses on the twisting, spiraling, winding movements that support Ba Gua.

In the long run all the 16 nei gung skills are direction signs to try and connect to the Central Channel, the deepest of the energy channels that connects to the primordial life giving energy of the cosmos itself. This requires awakening to the "Xin" called the HeartMind in Buddhism and Taoism, the deeper source of all thought and intention before it is formed. These nei gung skills help you get deeper into your body and mind, and eventually they will help trigger awareness of the Xin and you can return to where you began. That's way over my ability at this point but it's a cool concept and worth investigating!

Sambo Session

2012-02-05T19:52:00.000-08:00

Chris, Dave, Matt and I today...

2 rounds shadow boxing

3 rounds boxing, mainly close quarters work.

1 round all against all, gang boxing...brutal!

3 rounds partnered footwork drill

Dave, Matt and I then gave Chris 3 rounds of cover drill against the wall. We ended out striking section with some Russian fisticuff drills working on dealing with getting the arms out of the way, pushing, pulling and chopping to clear a path for a straight blow.

On with the kurtka for some sambo...

We went over last weeks session: hip throw to ankle pick to inside leg hook. Also the low, low single. We also did some work from the Russian 2 on 1 tie up.

We ended on time this week (2 hour session) due to the weather...at my house it was near 40 F when we started, ten minutes in it looked like a scene from "The Thing". I was half expecting to see a helicopter chasing a dog across the yard. better t finish early and get everyone home safe.

Report from Chicago Bartitsu Club

2012-01-29T21:03:00.000-08:00

I went in to Chicago on Sunday to participate in Tony Wolf's Bartitsu seminar at the new venue for the Chicago Bartitsu Club.. He had an excellent turn out with just over 30 students. It was an interesting mix of participants with experienced martial artists such as members of the Chicago Swordplay Guild (CSG) to steampunkers who knew little or nothing about the Arts of Mars.

Tony related the history of Barton-Wrights founding of the club in London and where Bartisu has gone from there. He then had everyone do warm ups with the synergy games he uses to get folks used to working and feeling how they move.

We then worked on some pugilism strikes and concepts and segued into some of the jujutsu set plays. Tony included a number of what I call "Failure drills" where the opponent is able to block part of the set play so you have to move to more strikes or other types of take downs from the one that is originally called for.

After lunch we worked on the Vigny stick set plays. Again, Tony had failure drills in almost all cases to show how pugilism and jujutsu still form part of the Vigny techniques. By the end of the afternoon pretty much everyone had the idea of flowing through the set plays and failure drills with out really having to think about how to use them.

Tony, as usual, did an excellent job of imparting this material so both the experienced martial arts folks and those who had never swung a stick before could participate and learn along the way. It certainly looked like he was going to be able to fill up his six week class just from those who were there .

The venue for the seminar is the new home of the Forteza Fitness, Physical Culture and Martial Arts studio, fortezafitness.com. It is in an industrial space and very bare bones at this point. However, they worked very hard to get a raised dance floor built in three days so we weren't falling on cement all day. I look forward to seeing how Forteza develops with CSG, Tony and others teaching classes there.

Mixing and matching - what do you do?

2012-01-23T19:25:00.000-08:00

I'm still learning how to teach my classes. So far I've learned two Rounds 42 and 44. I was curious - for those of you more seasoned, do you find yourself mixing rounds? Do you choose music from different rounds to match with choreography from other rounds? What do you find makes the best mix for a class?

Just curious on this. Personally I'm finding 42 a bit repetitive and am interested in how others structure their playlists.

I don't know how seasoned I am, but I do mix rounds. I pick a new segment (right now, it's punches) and introduce that into the "old" round. Next week, I'll introduce the new kick section into the "old" round, etc., until it's all entirely the new round.

I put the music on my phone, and currently use music from Round 44 with a mix of choreography from 2 rounds. As the music is all 32 counts, I find it doesn't really matter. And for the cooldown, you can get creative.

My dealings with Gallowglass Academy

2011-12-27T18:37:00.000-08:00

I apologise if this is slightly off topic but since Allen Reed is a regular here I thought it was as good a place as any to post this.

I recently purchased a book from Gallowglass (to bring things on topic, it was Paulus Kal's "In Service of the Duke" fechtbuch, which is long out of print and I was delighted to find an as-new copy for original retail price) and the service I received was excellent. Andrea was extremely helpful, and the book travelled across the Atlantic and got to me in perfect condition, which is no mean feat as the posties tend to like to kick stuff around.

Just thought I'd say thanks to the Gallowglass team for this wonderful acquisition to my WMA library, and mention to everyone that if you have cause to do business with them then you are in good hands.

Thanks for the attaboy. Andrea always tries to do the best she can when she sells books. Hope you can make it to the States and drop by sometime.

Slung-Shots by the historian John Evangelist Walsh

2011-12-18T05:20:00.000-08:00

I just started reading a true-crime book called Moonlight, by the historian John Evangelist Walsh. It is about a notorious 1857 murder case which took place in Illinois. The defendant's lawyer, a young fellow named Abraham Lincoln, won a spectacular "Perry Mason" victory. (This case, highly fictionalized, is a highlight of John Ford's film Young Mr. Lincoln.)

One thing that interested me was that the murder weapon was "a certain hard metallic substance commonly called a slung-shot (a lead ball encased in leather with a cord attached for swinging.)" It also turns out that Lincoln, as a young man, was an enthusiastic belt-wrestler. One of the decisive moments in Lincoln's early career came when he defeated Jack Armstrong, the champion of New Salem. The match got a bit rough towards the end, with both men resorting to foul tactics. The crowd, fearing for the safety of their local hero, threatened to riot. All turned out well in the end, however. Lincoln managed to stare down the crowd. Armstrong was so impressed by Lincoln's stamina and courage that the two men became lifelong friends. The rough-hewn folks of New Salem formed the core of Lincoln's Illinois constituency.

Incredibly cool stuff; and I'm only on chapter two. I'm from ILL originally. There are many stories of Lincoln, but I didn't know about his wrestling. In England the policemanâ€™s truncheon became known as a â€˜life-preserverâ€™ but in fact before that people carried a â€˜self-defenceâ€™ weapon which was nicknamed the â€˜life-preserverâ€™. This consisted of a small (possibly lead) ball attached by cord/chain to a short stick. It was like a miniature mace which was small enough to be carried inside a coat pocket and was intended for use against footpads and suchlike. I wonder if this was similar/identical to the slung-shot?

Flip and Flick

2011-12-09T16:45:00.000-08:00

Just Greg and I. We focused on the Cane in close range and confined spaces. We first defined what "close range" and "confined spaces" was in a historic context and then in the modern. We looked at Lang's "Flip" and "Flick," both my interpretation and Craigs. Then Lang and Vigny's bayonet related material. Examined the different grips used in the Lang and Vigny bayonet style material. We also brought in a bit of Cunningham work ("Double Guard"). Did a few drills using modified bayonet (Lang, Vigny, Cunningham) against a knife in a restricted area, then developed a "practice set" of chained techniques and defenses.

Followed this with an inclusion of the defenses against a grab from the "Cane and the Footpad" article along with the logical extensions for left or right use.

Finally, I taught one blood-choke using the cane which flows sometimes from Lang's "Flip." It's a variant of gyaku.

First Class!

2011-12-04T18:16:00.000-08:00

Anybody first Class in this week from today! Any last minute advice?

I taught my first class a few weeks ago. I'm actually teaching my third tomorrow. My advice is this: know you'll screw up and accept it and just have fun!

One thing I did for my second class was write on GIANT Post Its my choreography notes. I could see them easier to glance at and my class could "cheat" if they needed to. Since I don't have cuing down to a science yet, it was a great thing to do!

By the way, if your group is new to Turbo Kick too they really will only get about 4 layers or less. I didn't believe it, but low and behold, that's what happened.

Yes, definitely write my notes out on something you can see so you can glance down at them. Keep your layers simple. You will do great! I haven't been teaching too long..:a little over a year, and the other day I froze during the warmup and couldnt remember what to do after the double bob and punches! Luckily there was another instructor in there and she started marching. Lol see, we will all mess up from time to time, but as long as we can laugh it off, we will be fine. :)

Have fun and let us know how your first class goes. What round are u teaching?

Know that you will mess something up & embrace that. Focus on having fun & keeping your participants safe. If that means big ole' monster cheat sheets, then cheat away. Let them know that safety & a solid workout are your priority. You may not even need the notes, but with them you can have fun, monitor exertion levels & engage your students :o) Without the notes, you may prove that you nailed memorization, but at the expense of an amazing experience -- you build classes based on experience, not memorization skills.

Get a really good nights rest the night before! I was so nervous that I could not sleep, but it didn't help that I kept on practicing late that night. Lack of sleep just intensified my fears of being on stage and I completely blanked out and froze with a deer in headlights look on my face! Thankfully my second time went much better as I accepted my 1st experience and really it was not the end of the world and as I reflected I realized that in teaching group fitness, its the students experience in your class that matters the most! So I quit worrying about me and chose to be positive, excited, and full of energy for them. Just go with it...have fun and your class will too! :)

This is all good stuff! I love the advice and reading your own personal stories. I'm going with R45. The presenter here kind of taught me how to break it down even more so it should be fairly easy for people new to Turbo.

Staying positive

2011-11-26T19:55:00.000-08:00

It's been quiet plus we need some humor as the holidays approach. This is not a joke, but I found it amusing.......So a friend told me that there is a guy on cable TV that supposedly is a real life paid gigolo/male escort in Vegas. Here's the funny part...they said he states that he seriously studied Yoshokai Aikido (I think that's the Kushida Sensei group) and participated in Kenshu. Now THAT is using your ki! Anyone hear of this or see that show? Anyone know this guy or ever practice with him? Wonder how much kamae comes into play? LOL

I am 44 years young and have recently returned to Aikido, after a 27 year absence. I don't roll like I used too LOL. I walked into the Grafton Dojo back in March and have thoroughly enjoyed myself. The Club trains 3 times a week, Tues & Thurs evenings 6:00 pm - 8:00 pm & Sat 10:30 am - 12:30 pm.

I have been attending all 3 classes, work commitments allowing. I haven't been able to attend the last 3 weeks, as I am Funeral Director (Undertaker) and unfortunately, have been flat out with work. As I normally work 24/7 for 10 days and get a 4 day weekend every second weekend. But I am currently on my 21st day straight on call. As I have a colleague away with personal issues and have been unable to attend class.

I have had every Mon, Weds & Sunday free, the opposite days to class of late. So I am not to happy about that, as I am looking forward to my 5th Kyu grading.

I am trying my hardest to get back on track, have go Jo 1 & 2 down pat and have nearly got Bokken 2 as well. As I have been practicing in the back yard in the heat an humidity( Summers building).

So just trying to stay positive and train when I can at present.

Sorry for the waffle

the Fitzsimmons shift

2011-11-16T20:32:00.000-08:00

Chris, Matt and I today...

2 rounds shadow boxing

2 rounds three count cadence drill

1 round heavy bag

2 rounds boxing

We then went over the Fitzsimmons shift. We have done it before but it has been a while and I realized that this was something new to Chris so it seemed like a good subject for the day. We also worked in Biddle's Killing shift and a few variations of our own on the concept. Once we had this ingrained a bit we geared up again and each boxed two more rounds with an emphasis on landing the shift.

Next up shillelagh working through the Footpad and the Cane article: http://adf.ly/3l0ua

We had a good bit of fun working with this short text. It is short but has a good deal of useful and interesting material. We ended the session working through some basic attack and defense with the shillelagh followed up with two bout each shillelagh vs shillelagh. Always the most violent of all.

What's the difference between Biddle's shift and Fitz's? I think Biddle was a student of Fitz, or am I imagining things?

Insurance for the turbo kick instructor

2011-11-15T06:00:00.000-08:00

I am currently teaching Turbo Kick at my church. However, starting in January I am planning to teach it at the hospital that I work for. They called today and said that I would need insurance. I called my insurance agent, but they do not offer it. I looked at some sites online and am seeing it for anywhere from $150-250/year depending on the amount you want to be approved for and if you are certified (doesn't include the TK cert, they are talking about ACE/etc).

What kind of insurance does everyone else use, and what is the most affordable one? My concern is that I do not charge for my classes, but this is an additional cost. I have already spent $500 between the certification day, the Elite 11 DVDs, and the 5 pack of DVDs that were on sale on the Turbo Kick site. That is fine, because I love teaching and doing the workouts... However, I'm considering starting to charge at least a small amount of money to help cover the insurance and any new DVDs that I may want to purchase in the future. When the lady from the hospital called to see if I planned to charge, I said "no" so I'm not sure if she was going to say that it wasn't allowed, or if she just wanted to know...

Here's an option - http://adf.ly/3jejE - About 144/yr. I wouldn't teach without it - When I looked at the site, it said it would be asking for a registration number for certification. There isn't one on the TK certificate. Did you have to give one?

Blades -Brawling

2011-11-10T20:02:00.000-08:00

Just Greg last night. So, I knew it was going to be a warm, dry, beautiful day so I planned on using what may be the last nice day of the season to do outdoor work, Greatstick and Singlestick/Saber. What I forgot was that Daylight Savings Time borks evening daylight hours in favor of morning. I'd rather have the evening daylight than the morning but the government didn't ask my opinion. Therefore, even though the garage door was open, we worked inside, beneath the cold glare of my fluorescent bulbs.

Brawling – First looked at the Head Butt again. Reviewed the three uses: modern, French Apache attack, and "Scientific Boxing" technique. Spent the most time on the mechanics of the modern technique. Then we went on to Slungshot. Looked at the commonly reported historic carry techniques then worked on deploying from the pocket draw in conjunction with initial attack technique. Next up was pairing the Slungshot with commonly reported history weapons pairings. This includes the knife, coat, and [redacted – I'm saving it as a surprise for the Seminar and book!]

Blades – Next up, BOWIE KNIFE!!!! Huzzah!

Drill 1: Thrust on inside line and parry to the inside.

Drill 2: Mandriti style thrust on outside line and parry/back-parry to the outside.

Drill 3: Combine 1 2, Thrust inside, parry inside, thrust outside, parry outside, lather rinse repeat. Then footwork, parry, and thrust drill with the "swinging bar."

Finally, SPARRING! WOOT!!!

Supreme Grand Master Angel Cabales Exclusive Interview

2011-11-09T01:05:00.000-08:00

Grand Master *D*

Grandmaster *D* has over {30} + years of actual training in the field of martial arts. The combat arts that he has studied includes Kajukenbo, Chinese Kempo, Thai Boxing, Tai Chi Chuan, Western Boxing, Kali and the fine art of *Serrada Escrima* as personally taught to him by the late

*Supreme Grand Master Guru Angel O. Cabales* GM *D* Always Looks to be in tip top shape

Regardless of your skill level, style, experience or previous training in the pugilistic weapon or "empty-hand" arts…Grandmaster *D* thoughtfully, and thoroughly guides, and personally teaches you this "beginner to expert" stick-knife and empty-hand training program. The time worn notion that all students must train for 3, 6 or even 10 yrs. is a misnomer, and, is a thing of the past.

By extracting the essence of Serrada Escrima and combining it with his over {30}+ years of martial arts expertise…You are presented with an "eclectic" modern day style that will give you the decisive edge in the absolute art of streetwise combat.

With Grandmaster *D* "It's all about superior quality of service".

Serrada Escrima is not only based upon technique, but also, on theories, and concepts that were developed and refined throughout many years by SGM Angel Cabales himself.

SGM Angel Cabales learned the rudimentary foundation of the Filipino art of escrima from his mentor, 'Dequerdas' SGM Felicisimo Dizon.

GM *D* began studying Serrada Escrima in 1984 in Stockton, California. With several years of genuine combat experience already underneath his belt, GM *D* knew that after having witnessed SGM Angel Cabales in actual combat action he was indeed a genuine weapons master.

The Late Great Prof. Gilbert Tenio teams up with SGM Angel Cabales at GM *D*s 1984, *Classic Cabales Serrada System of Escrima Seminar* in San Francisco, Ca. GM Angel Cabales once said to GM *D* that his intentions were not to inflict upon him his particular style of martial arts; but rather to demonstrate & to teach him some effective tactics that he could use to make his 'own' style of martial arts even more applicable & even more effective.

SGM Angel Cabales also said to GM *D*, "Any student whose primary focus is to be a carbon copy of his teacher is doing themselves a great disservice. No one can be exactly like the teacher and still retain their own personal identity."

In essence, the 'Cabales Serrada System of Escrima' was designed as a method of personal self-discovery & for self-transformation of the soul. In this hands-on learning system, SGM Cabales called the highest level of martial arts attainment " presence of mind " or "spontaneous intelligent reaction". Around 1986-87, GM *D* arranged & introduced GM Gura Graciela Casillas to SGM Angel Cabales where she began her transformative stages of training within the field of Cabales Serrada Escrima

"When a person is seriously engaged in close-quarter combat, there is no time for thinking, feeling, choosing or judging what is occurring from moment-to-moment" SGM Angel Cabales

Here's how SGM Angel Cabales put it:

On June 3, 1990, GM *D* traveled to SGM Angel Cabales' home in order to conduct a very special interview on him. Although GM *D* had spoken to SGM Cabales many times about his style of fighting, he was always reluctant to ask him about his death matches. SGM Angel Cabales told GM *D* that escrima death matches were an integral part of the ancient warrior code & traditions of the Philippines.

"To willfully test one's skills in an actual match to the death is the ultimate test of true fighting skill and indomitable courage".

SGM Angel Cabales

SGM Angel Cabales added, " Whenever you are engaged in mortal combat you must forget about all of the antics of your opponent. One must not worry about things like how big or strong or how great your opponent's reputation or image is. One must remain calm & cool, but as alert as possible and strike the enemy down with certainty, accuracy, and with overwhelming pinpointed, and strategic execution of overriding power."

SGM Angel Cabales insisted that in order to survive in any life or death encounter, you must bypass all negative and positive conflictualities. Any type of conflictuality constricts the natural flow or " presence of mind of a person."

Freezing in the midst of a life or death encounter can be very fatal. It is only in a natural state of mind that one can effectively defend himself against myriad of attacks. SGM Angel Cabales taught GM *D* that obtaining high levels of rank or degrees should never be the primary focus of a martial arts aspirant. Instead, a practitioner should focus upon the fundamentals & upon the metaphysical ingredients that lie behind all external formulas for combat fighting.

According to SGM Angel Cabales, no level of rank could ever equate with the raw courage and skill that is latent within the hearts, bodies, and the minds of every human being. A real warrior works from a position of practicality, and begins the process of becoming a master craftsman by using whatever personality & circumstances he/she is in at the time.

To SGM Angel Cabales, befriending and assisting a person with the elevation of their mind was his greatest and highest achievement award within his lifetime. The 'Cabales Serrada System of Escrima' was designed for thinkers, and for all those who are seeking a supreme martial arts type of lifestyle.

The art of Serrada Escrima as developed by SGM Angel Cabales entails many aspects of the art of combat.

"In order to make my art of Serrada Escrima serve the present time, we only have to assemble or reassemble my art into its fullest dimensions scientifically, and then my students have to bring to life my art of Serrada Escrima, and then make it there own." SGM Angel Cabales

Supreme Grand Master Guru Angel O. Cabales

{1917-1991}SGM Angel Cabales stated that his style of fighting could not fail him in any combative encounter. In SGM Angel Cabales' mind his art could never fail him because he always thought in a completely positivist way when it came to close-quarter-combat-fighting. SGM Angel Cabales was not afraid to engage in actual hand-to-hand or weapon-to-weapon encounters.

The Serrada System of Escrima as taught by SGM Angel Cabales was very people oriented. SGM Cabales was not only the first escrimador master to open a commercial escrima academy in America in 1966, but also! like the legendary Bruce Lee; he was amongst one of the first Filipino masters to teach outside of his race.

A good example of this are the top three African American master graduate students that Cabales personally taught escrima to; Professor Sultan Uddin, Master Guru Jerry Preciado, and Grand Master *D*. (l-to-r) GM Jim Mather, SGM Angel Cabales, Grand Master *D* & Professor *Sultan Uddin* (l-to-r) Co-Founder of 'Angel's Disciples' Serrada Escrima Master/ Jerry Preciado & Grand Master *D*

Finally, Angel Cabales believed in the eternal goodness of man. Even when the usurers were closing in on him, he still had faith in his; 'Serrada System of Escrima'. After more than {27} years of practicing and promoting the Serrada Escrima System of martial arts worldwide; GM *D* still continues to discover hidden clues & further meaning that has unearthed some of the deepest secrets of the "Angel Cabales Serrada System of Escrima".

It's these energy-releasing secrets that continue to propel GM *D* upon an " Endless Journey " of self-discovery & further development within the area of close quarter combat.

In an interview in early 1990, just prior to SGM Angel Cabales' death, GM *D* asked the 'Supreme Grand Master' who he felt are some of his top Serrada Escrima graduate student(s). In a proud, and in a jubilant voice, he said;

"All of my students are my top students".

That's how SGM Angel Cabales truly thought, he was always fair & equitable in regards to giving recognition to all of his graduate students.

2007, Grand Master *D* had the distinct pleasure of meeting in person in Augsburg, Germany, one of Ving Tsun Kung Fu's best fighting master's. Master/Guru Sifu Muammer is probally one of the least known of Grand Master Leung Ting's graduate master students. Additionally! Master Muammer has mastered & studied extensively within GM Rene Latosa's Escrima system.

Note: Grand Master Rene Latosa is a former Serrada Escrima graduate instructor under the late *Supreme Grand Master* Angel Cabales.

GM Rene Latosa received the fundamental's of the combat art of Serrada Escrima directly from SGM Angel Cabales, which in turn greatly aided him when he first introduced his rendition of the art of Serrada Escrima known as 'PMAS' all across Europe.

{1983} Escrima Grand Master Rene Latosa Makes a Special Guest Appearance at GM *D*s "Kali/Jeet Kune Do" Seminar featuring Maha Guru Ted Lucaylucay & Guro Dan Inosanto (l-to-r) Guro Dan Inosanto & GM *D*/1980 Cleveland, Ohio "Kali/Jeet Kune do Workshop"

Ving Tsun/ Escrima Expert Master Guru/Sifu Muammer Grand Master *D* had the distinct pleasure of being one of the first of the late Grand Master Angel Cabales' graduate students to formally introduce the "Serrada System of Escrima" directly to Master Guru/Sifu Muammer at his academy in Augsburg, Germany.

THE IMMACULATE SGM YIP MAN

Grand Master *D* Formally Introduces Serrada Escrima to Master Guru/Sifu Muammer in Germany {l-to-r} Grand Master *D* Prepares to Utilize a Serrada Escrima Cross Block {l-to-r} Master Guru/Sifu Muammer & GM *D* Indeed the fine art of 'Serrada Escrima' along with the illustrious legacy of the "Father of Escrima in America" has crossed over to various shore's all over the world. "Long Live the art of Supreme Grand Master Angel Cabales" THE GM *D* SGM ANGEL CABALES ALLIANCE FORMED IN{1984}

Ghosts, Demons and Ru Ding

2011-10-30T20:41:00.000-07:00

I was recently reading in Bruce's book "The Power of Internal Martial Arts" about how on the path towards spiritual evolution, there are some very challenging stages where we can experience such things as "searing deserts" of the soul and "gnawing psychic thirsts," as we encounter the depths of our being through inner dissolving and martial training. He also talks about how being a spiritual warrior involves a willingness to live through several "dark nights of the soul."

I'm wondering if anyone here would be willing to share some of their expereinces of working with their demons through meditation and martial arts? Has anyone here lived through any of these "dark nights?" if so, what was it like, how long did it last and what helped you in dealing with it?

My reason for this request is to help to get some perspective on my own experience, as well as for sharing and community around these rarely-discussed experiences.

I know about it, and it is very recent history. It started when I was in China. I was teaching in a university there, and I started to have some panic attacks, coming from absolutely nowhere, heart beating very fast, a feeling of death coming very soon, and other pains in the chest. Symptoms of a heart attack. Went to many doctors who said my body was perfectly well! I was kinda thinking "the guy is fooling me". But check-up after check-up, I realized that they were right.

So were was allthis pain/fear coming from? It was incredible, coming out of nowhere, especially in the evening. Really was an agony, on the physical, but even more on the emotional level. I later learnt from the internet that I was not alone. It is a symptom called "Spasmophilia" by the French. Don't look in a dictionary, the concept doesn't exist in english, it is a kind of "panic attack symptoms. People may have this for years.

Knowing this started to help me, also a supporting wife, and an australian neighbor I consider to be a sage helped me a lot too. Having a warrior spirit: oh yes it definitely was what made the difference. I can honestly say I had it. I didn't want to lose; losing meaning to be dead/crazy.

The last doctor I saw said I should be on medication for a year minimum. I thought, "fuck it, no way, better die than become a zombie". And it did finally work! Compared with some other people having the same stuff:

- I never took medication (maybe one pill when I was to take a plane)

- I never lost my job, despite the many sleepless nights I had

- I never tried to commit suicide

- I was - strangely- happy when not in a crisis.

However, my "I don't wanna lose" attitude was also my biggest flaw in many aspects. What I needed to learn (and still need somehow) was the idea of letting go. Accepting, even things I thought terrible. Including death.

That is not easy. I realized my fears and angers where coming out in my body. And it was a result of my energy practices. Not because I was not practicing correctly, I believe, but because it was a stage. I hated it.

I realized I was in a constant anger against many things. The weather, the bad environment. Fear was coming almost instantly when I was hearing a story of someone dying in car accident, or something like that. I was feeling helpless, powerless in a threatening world. I didn't want to admit it, my body spoke for me!

2 words were for me to learn: acceptance, and no-judgement. I knew these (I read some spiritual literature, too!), but I had to make them become real in my very body., not just as words. I thought coming back to my country would help me. It did, but not immediatly. It was not a matter of place, it was purely internal stuff.

That was a real dark night of the soul. AS for "ghosts", well, I was not thinking of it that way in the beginning. But I had heard about Castaneda's "flyers", ghosts feeding on human energy through emotions. I don't know if those exist, but I managed to get out definitely by saying strongly, but without hatred: "ok, you will do all the crazy stuff to my body, you may even kill me, I don't care if can't sleep, but I WON'T GIVE YOU MY FEAR.

Since then, I had some "crisises", but nothing compared with the ones I had before. I know the protocol to get out. And more important, I don't bother. Actually I believe what we feel emotionally is more important than anything else. Events may be important, but they should never be a loss of emotional balance, which is our very soul (in chinese, the heart is the root of the shen or spirit)

Several minor ones and one big one. In a period when I was practicing a great deal, something started coming out of the lungs. Then it worked out to the skin...there is stayed giving me a really hellish experience for about six months of continual skin itching along with spasmodic leg stuff every time I tried to sleep. One of the hardest times of my life. Thought I mind end there. Kept practicing...in fact my meditation was about the only thing that gave me any break at all. Couldn't sleep for very long periods. Really, really happy when that was over.

Italian Knife Fighting System?

2011-10-14T00:59:00.000-07:00

Has anyone ever heard of this instructor and knife fighting system?

Master Gilberto Pauciullo and Northern Italian Piedmont (?) knife fighting system.

I have been lurking for a long time,and people who know me, like Ken, are aware that I research South American Fighting systems like Garrote and now in Colombia Grima. But another aspect of my research has to do with my Italian heritage, on my fathers side. So for a long time now I have been looking into Italian traditions of Knife and Stick fighting. There are quite a few that are still alive and kept that way by old Masters. The only problem is a certain veil of secrecy maintained by several knife and stick traditions, especially the Sicilian ones. And yes, they exist,they are not reconstructed thru old manuals, the only problem is getting in. Look up BASTONE SICILIANO or COLTELLO SICILIANO and you will get some answers.

COMBAT AGAINST MULTIPLE OPPONENTS

2011-10-11T20:38:00.000-07:00

Here's some more info on my newest book, which happens to be on one of my most beloved topics:

Combat in Outnumbered Scenarios: The origin of Historical Fencing.

...

In this book I cover the fundamentals of combat against multiple opponents both with long double hand weapons (staff) and short single hand weapons (baton).

The main topics are:

- Combat strategy against multiple opponents,

- Principles of engagement,

- Principles and usefulness of active and reactive behavior,

- Technique for distance optimization,

- In motion sweeping parrying technique,

- Scenarios specific of baton due to its shorter length and single hand manipulation,

- Tactical decision making during combat.

The book has one additional chapter in which I cover the historical evolution of combat technique, more specifically parrying technique, presenting why and for what purpose different parrying techniques were created over time, hoping that these contents contribute not only for a better understanding of Martial Art's history but also improve combat strategy.

The book costs 19,95 dollars and is available at www.pretomartialarts.com, as well as on www.amazon.com

More information can be found on www.pretomartialarts.com and http://bf3c2baf.linkbucks.com

Although the Portuguese version of my website is still under construction, all my books are available in both languages.

Bartitsu Session at Gallowglass Academy

2011-10-06T19:49:00.000-07:00

Tonight was the second session with my Bartitsu student.

We reviewed our pugilism from last week including the left lead, the right rear punch and the upper cut. We then reviewed using your left lead arm to block an incoming right hand punch and then counter punching with your right fist. I then introduced the idea of using the inverted fist punch used as hook to strike at the temporomandibular joint (TMJ)

We then talked again about how you can get someone off balance by moving them into the empty triangle point in front of behind them.

We then worked on making someone fall over backward from the collar and elbow/randori position both with and without blocking the leg. From there we worked on the back heel throw from pugilism. Once we had worked on that I introduced the cross buttock throw from pugilism also called the neck hip throw in jujutsu.

We finished the session by an introduction to Vigny's cane with the front guard and using cuts #1 and #2 and then falling into a two handed bayonet stance to add a thrust.

A Weekend of Iberian Swordplay at Gallowglass Academy

2011-09-28T21:25:00.000-07:00

I can't speak to the Destreza material, but I've taken several classes with Eric and Puck at WMAWs in 2007, 2009 and 2011 on the montante, the Iberian greatsword that Allen references.

For those who aren't familiar with it, it's a fascinating weapon and style, IMHO. The primary sources are predominantly centered on tactics, not techniques, so while Eric, Puck, Steve Hicks and others have had to work hard to clarify the techniques involved, the scenarios provided in the sources give us a level of insight into the weapon that we have for few other historical weapons.

For example, there are combinations for fighting in an alleyway that's so narrow you can't swing the sword, combos for use in streets that are *just* wide enough to let you swing the sword, and scenarios for guarding a noble lady, for breaking up a fight between fencers, for fighting on the central walkway of a sailing galley, and more.

Given all the source material available, I have no doubt that Eric could easily fill a day with interesting stuff.

I'm definitely planning on going!

I discussed with Maestro Puck Curtis at WMAW having him come out to do a seminar at Gallowglass Academy (25 miles from Rockford, IL and 90 miles from Chicago) next year. Based on our preliminary discussions we are currently looking at doing a two day event on either April 21 - 22 or 28 - 29, 2012.

Maestro Curtis has suggested he do a one day Destreza seminar with sidesword, rapier or longsword and then Maestro Eric Meyers do a one day seminar on Iberian great sword. This will necessitate we get at least 20 students at close to $100 each for the weekend. I am looking to get feedback to see if we can get enough interest in the seminar to let them know to plan on coming out.

So please talk amongst yourselves and any interested students or friends and get me feedback ASAP so I can let Maestri Curtis and Meyers know what is going on.

Invitation to participate in a survey on Historical European Martial

2011-09-22T23:46:00.000-07:00

Hi All,

some of us in Melbourne (Au) were discussing the merits of a journal article on "Martial arts participation: consumer motivation" that was in International Journal of Sports Marketing & Sponsorship;20100101, p105, 19p.

It did not seem to represent the HEMA community at all, so since I have already given money to SurveyMonkey I decided to make a survey and see what we can find out (then added some extra questions of interest).

https://www.surveymonkey.com/s/wma-survey2011

Please also share this where you may like (eg. social media, blogs, websites, classes , etc).

I look forward to sharing results once we have a reasonable sample size. All identifying information will be private and only used for statistical purposes.

If any groups would like a snapshot of their members results (minus identifying information) please contact me personally on snimmo@swordplay.org.au.

Warning though, I will attempt to verify any such request as being legitimate (eg. emailing said organisation to confirm) If not successful I will refuse as I cannot verify you run that particular organisation.

Annapolis Mall Demo this Saturday, September 17

2011-09-17T21:54:00.000-07:00

Jing Ying will be performing at Annapolis Mall's Kidfest this Saturday. The Kidfest runs from 11am until 3pm, and there will be interactive activities with the National Aquarium, Chesapeake Children's Museum, Baltimore Orioles, and more. The popular music group, "Milkshake," will perform 3 of their hit songs and will have a meet and greet afterwards.

The majority of the event will take place in the newer section of the mall where Pottery Barn is (the Bestgate Road side of the mall).

Key times for students who are performing:

10:30am

Jing Ying Lion Dance Team

Meet at the Pottery Barn Court.

The team will also perform the lion dance a second time just after Milkshake's meet-and-greet by Crate and Barrel around 2pm.

1:15-1:30pm

Other Jing Ying students meet in the Pottery Barn Court for kung fu or tai chi demos.

Note: If you are participating in the demo, we recommend you attend the 11-noon class at Jing Ying to practice.

See you there!

Hsing-I Five Elements with Luo De Xiu

2011-09-10T00:41:00.000-07:00

He began with some basic thoughts, and showed how the 5 elements become the 12 animals. Tiger is double Pi Chuan, Monkey is Pi Chuan retreating, Dragon is Pi Chuan dropping and splitting. Horse is a reverse Tsuan Chuan, Pao Chuan becomes Chicken and a bunch of others. He always says that each element can be used in numerous ways, big, small, forward and back.

We worked on Pi Chuan most of the time, getting that sense of hefting a big rock rather than snappy forceful moves. He likes to move slow and smoothly, working on making the Mind more aware and dense in the space around you instead of rushing through the forms with crisp fast movements. This slower training allows you more options and adaptations in combat as he demonstrated.

We did a bunch of Tsuan Chuan drills, breaking down the form. We worked on dropping the elbow to get your power under the opponent. Beng Chuan was next and we did a lot of striking low and high in various ways with heavy, clamping down strikes.

We only had a few minutes at the end for Pao and Heng, so we did a few techniques to wrap it up.

We had a two-day-eight-hours-a-day intensive with Wang Fulai and Huang Shuchun in Milan, earlier in May, and I got (re)introduced to xingyiquan by Master Huang (I had always disregarded it, in favour of tjq, which I now realise was kind of dumb on my part).

As I have been focussing on piquan training ever since, I would like to ask you - how is the elbow of the retreating arm positioned at the end of Luo's piquan? In Wang Shujin's we keep it wide, pointing straight out at 90° from the body... which feels strange in the beginning, but then creates a simultaneous lifting and pressing which I find great for strength development. Quite different from the smooth strength you get in tjq, I'd say, but excellent nonetheless.

Did you find the same kind of work in Luo De Xiu's xingyiquan?

In Luo's version I think we keep the back elbow closer to the body, but the elbow still pulls a bit away from the body. His grandteacher was a good friend of Wang Shu Jin so their systems aren't too far apart.

Cool that you got to train with Huang Shuchun, that's awesome! Always wanted to take his class. Please write more if you feel up for it.

Masters Wang Fulai and Huang Shuchun came to Milan during the second week of May. They taught a week long evening course at Cheng Ming Europe in Sesto S. Giovanni (Milan), which unfortunately I had to miss - but I was told they split the huge Cheng Ming program over the week and dedicated each day to a single component (the three Zhan Zhuang sequences, taijiquan, tui she and you shou, xingyiquan, baguazhang, weapons... it's really immense!). On Saturday 14 and Sunday 15 May they then held their intensive seminar.

Saturday was xingyiquan day, open mainly to Cheng Ming members form Europe (we had people from all over Italy, but also from France and Switzerland, and an Inner-door disciple all the way from Australia! And that itself, the international flavor, the chance to practice with different people of different backgrounds, was worth the price of the event!).

SO - xingyiquan. The class was split into two groups, with Master Wang Fulai teaching a short stick form to intermediate to advanced students, while Master Huang Shuchun went over Wuxing quan with beginners. I stuck with her, of course, since, after being exposed to t, I had neglected xingyi in favor of taijiquan. As you may know, Master Huang Shuchun is the best female students of Wang Shujin (some would say his best bagua person all round) and she is one of the few to have been given full transmission of his curriculum. Personally I favor her technique one Wang Fulai - she is more minutely precise in every detail and aspect of the art, and a great teacher for details.

She began by showing piquan - splitting (ahah! sorry - lame joke) it into five steps:

1. From a stand still, hands, fist closed, called back;

2. The fists "resting" to the sides, they are raised about ribcage level (somewhere midway between hip and pectorals);

3. then the step, and the whole body is propelled forward by the simultaneous action of the two legs, two fists extended, the arm corresponding to the front leg thrust forward in a punch, the other arm "resting" (but there is a thrusting feeling to it) on the inside of the elbow;

4. From the end of the previous movement, here there is a sort of "coiling back" of the whole body on itself, beginning with the advanced forearm;

5. The splitting - santishi.

Santishi is very interesting. Since we were working out in a basketball court, Master Huang used to lines on the ground to explain feet and legs alignment - it's the outer edge of the front foot that should be parallel to the line on the floor, while the knees fall naturally inwards and the body faces forward. This creates a sort of spiraling/coiling of the whole body even while doing santishi-zhan zhuang, as the result of two opposing torsions. The back arm is, as I told you, very open to the side, with the elbow pointing directly away from the body, which causes the back, chest, heart and lungs to open naturally (and it had very good effects on my asthma, by the way!). Then there is a feeling of sinking with the backward hand, while the front hand (very frontal, with the upper arm extended straight away from the body and the elbow bent at about 50°) "pushing" forward. The fingers of a front hand should have a feeling of grabbing/grasping something - I was told this develops hand strength in qin na.

The same coiling/twisting/spiralling could be found in moving through piquant: when the front foot moves forward, and the whole body follows, in mid-step the two legs are twisting in one direction, 45°, while the arms are extended towards the front - in the opposite direction. This adds a sort of springing power to the movement, a feeling of being drawn inexorably forward while retaining control over your body.

The rest of the five fists is pretty much what one regularly sees in other styles, though the same twisting/coiling from piquan appears in very other techniques and movements develop a way of entering into the front line of the opponent at a slight off angle - you might be moving forward, but it is not exactly the same "forwardness" I was used to - say - in karate or boxing or full.

Master Huang also explained about the health benefits of every technique of xingyiquan - though her English was too poor, of course she has no Italian and the interpreter was working with Wang Fulai. I tried to act as translator from Chinese, which was OK (or almost so) until she got on the nuances of the meridians, the spiraling jin and the rising and falling of power - a bit too much for a self-taught! But what was clear is that the body mechanics in each movement are beneficial to both health and fighting: the arm position in piquant-santishi, or example, opens heart and lungs, while the beginning movement, with the arms twisting up wide to the sides, then falling down and twisting back - it creates an internal "widening of space" and following "closing" in the heart region, which massages the heart, and decompresses it. After seven hours of this, you could feel a warm wave rushing through the "yang" parts of the body, especially arms and trunk and legs, and a sense of strength and well being.

...but I have already written a fairly long essay - sorry, there would be so much more to tell! - If you think it worthwhile, I'll try and write some more on the second day - Taijiquan and martial applications.

We spent today working on some of the 12 animals of the Hsing-I system.

As always Luo Laoshi pointed out that the five elements are the important part and that the animals are for improving your range of motion and adding new ideas. But the five elements are all the component parts of the animals. For instance Dragon, Tiger and Monkey are all mostly Pi Chuan, but Hawk is Heng Chuan, and so is Bear. But all of them have a variety of elemental ingredients.

We did tons of fighting drills, techniques and power training. Can't describe them, but they were the usual variety of openings, controls, slaps, strikes, throws and locks all with an eye for quick fight stopping.

He showed how Hsing-I tries to get your opponent to close up, cover up and retreat. Hsing-I power is great for drilling into and cracking open someone stiff and brittle. Make them shrink their space so you can smash into it more effectively.

Heng Chuan is the mother palm because it is drilling, in all it's dimensions. All the 5 elements are just variations of Heng Chuans drilling and twisting actions. This motion is at the heart of all Hsing-I attacks and defenses.

We did the 5 Tiger Forms, each version of Tiger corresponds to one of the 5 elements. Raking the face, ripping the body and squashing the organs were taught. We did a lot of chasing drills for when they try to escape.

We did Bear and Eagle. Bear is heavy swatting and shaking power. We did lots of shoulder strokes and body checks to rattle their whole structure. Eagle is gripping and crashing down on top of them.

We did a long version of Hawk, incorporating Pi Chuan, Pao Chan, Tsuan Chuan, Heng Chuan and Beng Chuan in that order. A cool form that combines some great moves together. Smash down on him, then burst up from underneath. Hook, catch and strike the body.

Luo packs so much into these things that I can't delineate the 35 or more techniques we did today, all with variations. Plus all the principles and body movement drills. I only hope some of it will remain in my subconscious.

Then we did Monkey, lots of slapping catches, sticking to them, chasing them with jumping slaps, and body checks and flying knees. Vicious but playful.

Basically is was Hsing-I overload and we'll get to do more tomorrow.

the navaja trainers

2011-09-03T20:47:00.000-07:00

Matt and I today.

No session last week or even midweek. had a run in with a hornet and found out I am more allergic than I thought I was. Matt had eye surgery a few weeks ago and finally got the ok to get punched in the head...

2 rounds shadow boxing

4 rounds boxing

1 round savate

On with the jackets for some sambo...

2 rounds grip work

2 rounds freestyle sambo

1 round par terre.

Sambo is fun but more than a little rough, often we are turned upside down during a throw or groundwork, stomach acid has no respect for the authority of gravity (what does that mean? I don't know) we call it sambo reflux. Often heartburn follows a good training session. I also suffer from something I call sambo amnesia. I have the hardest time remembering how we get to the ground even if I am the guy doing the throwing. Often I have to ask my training partner what just happened.

Strange but like I said, fun. Out came the navaja trainers. After a quick refresher on some basics we spent some time throwing a viaje or three. A viaje is a low line thrust to the belly, there are several different methods for doing this. We focused on a fully committed attack sometimes with a standard grip, some times with a Mediterranean grip(edge up). We also worked our cambios (hand switches)and switched from a viaje to a desjarretazo or ripping attack. We ended with a review of technique using the faja or sash, the finale being a bout using the faja and navaja in conjunction.

We then went over some of Dempsey's basics for power generation, this time we applied them to elbow strikes...brutal! We also hit the shovel hook, both to the head and to the body. My favorite punch. Last we applied Dempsey's mechanics to holding and hitting, the shoulder whirl is a thing of beauty. Good session, felt good to get to hitting people again.

So what is happening in your training sessions? I really want to steal some of what you do.

Strong emotions and meditation

2011-08-25T19:49:00.000-07:00

Allowing yourself space seems essential to me. Dissolving is always good, but relaxation is key. If you are having difficulty in relaxing into the dissolving procceses, then I suggest focusing solely on what will bring about relaxation. Some thoughts:

* Your favorite non-addictive opportunities to induce relaxation

* Time in nature with good air quality...allowing your eye to rest on the panoramas of nature

* Massage...even self massage* Vitamin C / High antioxident diet

* Warm baths

* Extra sleep

The last three are recommendations from Water Method instructors at weekend workshops, when the body may be processing/releasing more 'gunk.'

Best to you in finding what works best for you.

I like the first response you got - lots of extra sleep, relaxation, sitting in nature. I honestly don't know what will best help you, but here is what works for me:

- realizing that my former 70% might be my current 100% and taking things extra easy - my first impulse is to amp up and drive through, but experience has taught me that being gentle with myself reaps better rewards

- not adding more dissolving to my daily routine, as I would have an undercurrent that is trying to avoid experiencing pain and loss

- adding more simple breathing, or possibly a walking meditation, and when thoughts or emotions come up, turning my attention to experiencing them as thoroughly as possible, without asking them to move or change or hurry along, in particular noticing my body sensations with alertness to any old memories that come up (and then, if it seems right in that moment, intentionally releasing whatever came up)

- deliberately adding one easy task outside my usual routine which requires overt action on my part, every day, to keep myself open to the world (a walk around the block, a nice bath, an hour volunteering, a phone call)

I'm going through some full-on emotional upheaval at the moment, and I'm wondering how best to respond to this in terms of my meditation practice.

I've been doing inner dissolving for several years, and lately doing quite a lot of practice. I've also been through a very traumatic break up and am feeling generally very wobbly, with a sense of the ground having disappeared beneath my feet.

At the moment I have loads of time on my hands, since I'm a cover teacher, and the hols are long, and no knowing when the work will come in.

Does anyone have any advice on what to do in this situation? Would you recommend making use of the time to do loads of dissolving, or are there times when it's a good idea to back off, or maybe focus on less intense practices like breathing, or just sitting and letting stuff move through?

It seems a shame not to use the time I have to work on myself, but at the same time I want to avoid putting too much strain on my system by stirring up too much emotion at a time when I'm alread feeling overwhelmed.

Any thoughts/suggestions from experienced meditators gratefully appreciated.

weapons vs unarmed

2011-08-23T21:00:00.000-07:00

Midweek session for Matt and I today. We have been focusing so hard on sambo for the last month that it was time to take a break and do some drilling and bouting with weapons for a change.

Dussack...we had two spirited bouts uising the PH leather dussacks. I can feel these bouts in my legs still.
Longsword...just went over some basic binds then worked on them in real time with resistance.
Shillelagh...two bouts with this overly fun weapon. We took up the mats so we made the rule that we were not to go to the ground. Still a constant struggle much less strategy and more gagression.
Sparth axe...we went outside and reintroduced ourselves to this most brutal of weapons. It is good to get swinging once again. Have some serious work with these planned in the coming weeks. Had two fun bouts with these monsters.
Mountain axe..two bout with plenty of smashed hands. These are really like the shillelaghs in the level of aggression that comes out.
E-tool...just one brutal round of shovel sparring. Brutal sums it up.
Navaja...two bouts using CS trainers. Been a while, great fun can't wait to do it again soon.

Overall fun session. Different energy, weapons vs unarmed, not less or more just a different feel. Will go back to the mixed workout next time around.

Our Sambo adventure

2011-08-19T22:10:00.000-07:00

Before I get into the meat of the post I will give a quick rundown of our session last Wednesday...

Chris, Matt and I.

2 rounds shadow boxing

2 rounds 3 count cadence drill

2 rounds feed and follow footwork

1 round freestyle footwork

Once again we worked on mechanics for the straight rear...this time we added the Jab first and followed with a lead hook. Really keeping Dempsey's shoulder whirl on the mind and making sure our form was a perfect as we could.

Next up Sambo...

Since we had the Sambo tournie coming up on Saturday we wanted to do a nice light sambo workout. 4 rounds offbalance grip work 2 rounds sport sambo

We then went over some of the basic throws we were looking to land.

Roll on Saturday...

Doors opened at 9:30 AM in Chillicothe OH about 4 hours SW of us. I gave Chris the wrong time and he missed riding with us...totally my screw up. Lots and lots of competitor in sparring and grappling so many that at 4 PM sambo was still a distant thought. Prior commitments made us have to leave at 4 so we missed sambo altogether but since they did not get started before 6 they ended up canceling the sambo competition. I felt less bad about messing up the time for Chris.

So we talked on the way home about how bummed we were that we did not get to compete. That was the only real con, on the pro side...we worked really hard for over a month on improving our sambo and it did indeed improve...so even though we did not get to compete, it was far