• Concours Voies martiales

    Pour ceux d'entre vous qui ne l'aurez pas vue vous avez la possibilité de gagner le premier ouvrage papier de l'art de la voie. Pour ce faire il vous suffit de répondre aux quelques questions présentes sur le nouveau site de l'art de la voie et d'envoyer vos réponses par mail. Pour plus d'informations. l'art de la voie | Concours Voies martialesPour gagner le livre rien de plus simple il vous suffira d'envoyer les réponses aux questions qui suivent à l'adresse suivante:concours.lartdelavoie@laposte.net Attention les réponses envoyées ...http://www.lartdelavoie.com/#!concours-voies-martiales/cj9i

  • Exposition - L'Art de l'Amour au temps des Geishas

    Les chefs d'oeuvre interdits de l'art japonais "Dans le cadre de sa saison "Art et Erotisme en Orient", et en complément de l'exposition "Kama Sûtra", la Pinacothèque de Paris souhaite offrir au public une approche singulière de la vie et de la culture érotique au Japon à l'époque Edo (1603 -[...]

  • BJJ Beginner Tips and Off Topic Rants


    In this Grapplearts interview Stephan Kesting talks to BJJ Black Belt Ritchie Yip from http://www.infighting.ca. The focus of the conversation is tips that BJJ beginners need to know. But sometimes the conversation goes a little off track! In this interview they discuss: * Whether beginners should in their own class or mixed in with more advanced people * Things to look for when checking out a new school * How to avoid situations where you’re just going to get maliciously rag dolled by senior students * How instructors can teach a class of differing levels * What the the only real spiritual benefits of martial arts training is * How to tell if a martial arts school is run by a complete A-hole * Why training with black belts only is a huge mistake * What happens when people interested in taking a kickboxing class end up in the jiu-jitsu class by mistake… * Why learning jiu-jitsu is much harder than learning boxing, and how not to get discouraged during that learning process * The most insane idea Stephan has ever had for making a training dummy * And much more...
    Views: 301
    44 ratings
    Time: 57:28 More in Sports



    Pour ce Goodies#86, revivez le combat qui a eu lieu entre le Français Karl Amoussou et l'Espagnol Felipe Salvado Nsue ce 17 janvier à charleroi (Belgique). Filmé du bord du ring, vous assisterez au combat au plus près de l'action ! Et dans quelques jours avec la sortie dans les kiosques du magazine karaté Bushido de février, retrouvez un portfolio sur cette très belle compétition.
    Views: 561
    25 ratings
    Time: 13:09 More in Sports

  • The True Meaning of Aiki in Aikido and Aikijujutsu, Part 1

    What’s so aiki about peace, love and understanding?

    Aikido is one of the best-known martial arts in the world, yet the meaning of the word aiki is not well understood. Most people, including many of the 1 million who study aikido today, are probably familiar with Morihei Ueshiba’s famous interpretation — namely, universal love and harmony.

    In the classical Japanese martial arts, however, it has a different — and definitely more combative — meaning. Ueshiba’s own jujitsu teacher Sogaku Takeda defined aiki as “the ability to defeat an enemy with a single glance.”

    So which one is right?

    The hanza hantachi technique is part of daito-ryu aikijujutsu and aikido.

    Hanza hantachi techniques performed from a seated position against a standing opponent (above) are found in daito-ryu aikijujutsu and aikido. They’re said to have originated from methods used to fight inside a palace, where much time was spent seated.

    Koryu Bujutsu and Aiki

    The concept of aiki can be found in some of Japan’s koryu bujutsu, or classical martial arts, and should not be thought of as unique to aikido. However, the interpretation of the word changed significantly by the time aikido was formed.

    The koryu bujutsu were the arts in use during Japan’s feudal era beginning around the 15th century and ending in the late 19th century. They were primarily systems of combat practiced by the professional military classes rather than the civilian population. They included arts such as jujitsu and kenjutsu.

    The modern budo — which include karate-do, judo, aikido and kendo — don’t focus on combat to the same extent. They’re considered vehicles for spiritual development and self-improvement, although great skill in fighting may certainly be achieved, as well.

    For a better discussion of the differences between the koryu arts and the modern systems than is possible in this article, Donn F. Draeger’s three-part series The Martial Arts and Ways of Japan is recommended.

    The word “aiki” literally means a fusion or meeting of energy. It’s no accident that it’s an anagram of the word kiai (focusing the spirit), and indeed the distinction between the two is blurry.

    In the koryu arts, the application of aiki first appeared in kenjutsu schools (see Aikido: Tradition and the Competitive Edge, by Fumiaki Shishida and Tetsuro Nariyama) and referred to a contest of wills between combatants. Some other interpretations include the ability to gain the initiative and to use physical and psychological techniques to unbalance a foe. Over time, more esoteric meanings were offered, which would make any Jedi knight proud. They included the ability to see in the dark, to bring a walking man to a stop and to read minds (see The Fighting Spirit of Japan, by E.J. Harrison).

    Several jujitsu and judo schools also teach the concept of aiki, but the first one to formally include it in its name was daito-ryu aikijujutsu.

    Two Remarkable Men

    Daito-ryu master Sogaku Takeda may not have looked anything like Tom Cruise, but it would be apt to describe him as the real “last samurai.” Takeda was born in 1859 in Aizu, Japan, and lived through the Meiji Restoration, the ending of the feudal age and the final days of the samurai caste.

    From childhood, he was trained in several of the bujutsu of the Aizu clan, including the ono-ha itto-ryu style of kenjutsu and the family art of daito-ryu aikijujutsu. According to oral legends, aikijujutsu was created around 1100 and passed down secretly within the Takeda family. It’s said to have originated from sumo wresting and unarmed sword strikes. Daito (“great east”) was the name of the area in which Yoshimitsu Minamoto, the alleged creator, lived.

    ono-ha-itto-ryu style of kenjutsu

    One of the fighting arts Sogaku Takeda learned as a child was the ono-ha itto-ryu style of kenjutsu (above).

    Despite standing less than 5 feet tall, Takeda was a formidable fighter and personally pressure-tested his skills in several life-or-death encounters. The most notorious incident occurred when he was in his early 20s and fought a gang of construction workers in Fukushima. Takeda killed around seven of them with his sword after they attacked him with weapons and tools.

    During his lifetime, Takeda taught thousands of people. His most famous pupil, however, was undoubtedly Morihei Ueshiba, founder of aikido.

    Ueshiba met Takeda in Hokkaido, the northernmost island of Japan, in 1915. Ueshiba was already a strong fighter with considerable training in other jujitsu styles, but he found he was no match for Takeda. Consequently, Ueshiba abandoned all his activities to study with his superior. Contrary to the beliefs of many aikidoka, Ueshiba studied daito-ryu for a long time — Takeda’s meticulous records indicate that he trained for more than 20 years.

    Ueshiba would later modify the daito-ryu techniques he learned and combine them with the spiritual teachings of the Omoto-kyo religion to create what we now know as aikido. In the later stages of his remarkable life, he played on the fact that the character for love was pronounced ai, the same as the first syllable of aiki. His proclamation that “aiki is the manifestation of love” signified his conversion of aikido from its combative bujutsu roots into a budo system that could reconcile human beings and avoid conflict. This probably gave rise to the vision that many aikidoka of today are familiar with and have as their ideal.

    But not all aikido teachers agree that this is being pursued in the best or most realistic way today. Dave Humm, a British aikido instructor and prison officer, believes that reconciliation and conflict resolution without violence are high ideals that are overemphasized in many organizations. While he ultimately agrees with the ideology and philosophy of the art, he also believes that many aikido schools don’t fully condition their students for dealing with aggressive physical confrontation. He holds that spending many years training to control physically uncooperative aggressors is a necessary step on the path to achieving Ueshiba’s higher ideology.

    That doesn’t seem like such a radical doctrinal departure when one considers that even Ueshiba defined aiki in a less-than-altruistic manner in the early part of his career. In Dueling with O-Sensei, koryu and aikido teacher Ellis Amdur describes how Ueshiba reportedly said, “Aiki is a means of achieving harmony with another person so that you can make them do what you want.”

    In the same book, Amdur writes that Ueshiba purportedly taught combat methods at the infamous Nakano Spy School during the war. The former headmaster is said to have recounted how Ueshiba would demonstrate killing techniques, saying “This is how you finish them off.” Given the nature of the academy, the era and the activities of its members, he probably wasn’t teaching students how to love people to death.

    (To be continued)

    About the author: Dr. Nick Hallale has practiced the Chinese and Japanese martial arts since 1988. He has a Ph.D. in chemical engineering and taught for several years at the University of Manchester in England. He has written freelance articles about the martial arts for the past 10 years. The author is grateful to Antonino Certa and Giacomo Merello of Milan, Italy, for providing much of the technical information about daito-ryu. He also wishes to thank Dave Humm of the Higashi Kaigan Aikido Dojo in England.

    Photos courtesy of Antonino Certa

  • Attacks on Cops - Police Defensive Tactics


    It has long since been my views that if you are not a law enforcement officer, you should not teach control tactics / defensive tactics to law enforcement officers. Join us on Facebook http://www.facebook.com/izzowarrioracademy
    Views: 321
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    Time: 26:35 More in Sports

  • Tribute to Darren Shahlavi, Co-Star of the Kickboxer Remake, Ip Man 2 and Mortal Kombat: Legacy

    On January 14, 2015, Darren Shahlavi died of undisclosed causes at his Los Angeles home. An accomplished stuntman, actor and martial artist, he’s perhaps best-known for his appearances in Mortal Kombat: Legacy, Mission: Impossible — Ghost Protocol, 300, Ip Man 2, Lethal Combat and Tai Chi Boxer. He also had a co-starring role in Kickboxer (2015). In honor of his life, Black Belt is posting this story, which originally ran in our June 2011 issue. —Editor

    Ip Man 2: Legend of the Grandmaster

    Bruce Lee’s Wing Chun Instructor Is Back on the Silver Screen — With Donnie Yen, Sammo Hung and Darren Shahlavi

    When Darren Shahlavi met Donnie Yen two decades ago at a Hong Kong film-fighting seminar, he vowed that one day he’d co-star with the kung fu phenom. Shahlavi asked a bystander to snap a picture of him and Yen, after which he filed away the thought and the photo for a rainy day. Fast-forward 20 years: The clouds open and the sun smiles on Shahlavi, who not only is cast as the lead villain in Yen’s latest blockbuster but also plays a character named after a rain-soaked event and film.

    Darren Shahlavi (left) faces Donnie Yen in Ip Man 2.

    (Photo Courtesy of MPRM Communications)

    “Originally, my Chinese name translated to ‘Typhoon,’ ” Shahlavi said. “Then because of the film Twister, that’s where they got my character name from. It’s funny because I did this one starring role in this really shitty movie called Techno Warriors, which was shot in the Philippines, and in that film I was called Twister. Then I did another film (Lethal Combat) and had the same character name. And now, 12 years later, I’m doing it again.”

    When Shahlavi ran into Yen on the set of Ip Man 2, he reminded him that they’d met at a seminar 20 years ago. “I didn’t want to show him that picture because I wanted him to see me as a fighter now and not as the kid from 20 years ago,” Shahlavi said. “But after the fight scene, I showed him the picture. Sammo [Hung] came over, and we all had a great laugh.”

    Becoming a Star

    According to the Chinese calendar, 2010 was the Year of the Tiger, but it should have been called the Year of the Yen. The stalwart star became Hong Kong’s “it” man of 2010. The reason for the label? Yen’s performance in Ip Man, which was followed by a string of influential box-office hits, including Legend of the Fist: The Return of Chen Zhen, 14 Blades, Bodyguards and Assassins, Founding of a Republic and, of course, Ip Man 2.

    In the first film, Yen portrayed Bruce Lee’s real-life wing chun teacher, who took on the Japanese. In the sequel, the master must battle an evil presence in Hong Kong. Here’s the lowdown:

    Ip Man (also spelled Yip Man) and his family flee from the poverty of Japanese-occupied Foshan, China, to Hong Kong, a colony under British colonial rule. Soon after their arrival, Ip begins teaching wing chun on a rooftop in a section of town that lives under the protective thumb of hung gar master Hung Chun-nam (Sammo Hung). One of Hung’s requirements: No one can be a kung fu sifu on his turf unless he’s proved himself in a fight.

    Of course, Ip demonstrates his worthiness, after which he and the master butt heads with a common adversary, a bullying English boxer played by Shahlavi. The duty of the kung fu stylists is clear: They must defend the honor of Chinese martial arts against the outsider.

    Waging the War

    Directed by Wilson Yip, Ip Man 2 benefits from the standout fight-choreography skills of Sammo Hung and his assistant Allen Lan Hai-han, who happened to double for Hung during the second season of CBS’s Martial Law. I asked Shahlavi how his fighting skills were integrated into the action on the set.

    Darren Shahlavi and Sammo Hung in Ip Man 2.

    (Photo Courtesy of Well Go USA)

    “Sammo had heart surgery during the production, so he was less than his [usual] 100 percent,” Shahlavi said. “But even then, he gave [everything he had]. Sammo used hung gar, and Donnie [used] wing chun. I shot for 21 or 22 days — fought with Sammo for six or eight days and with Donnie for 10 days. My scenes were [planned] at the end of the schedule to wait for Sammo to recover. Surprisingly, we had a lot of single takes.”

    Shahlavi’s scenes with Hung focus on boxing versus hung gar. “I took a lot of real hits from Sammo, as he did from me,” Shahlavi said. “On the last night of shooting our fight, he had me punching his face for real. I was hesitant as he’d just had heart surgery, but after each take, he insisted I hit him harder. He also had a bad knee, so during a flurry of punches from me that sent him to the ropes, he bounced off and came back toward me to get a another punch, and his knee gave out. He moved too far forward, and I ended up punching him head-on. He went down but was on his feet fast, and we continued shooting until the fight was finished. Sammo is one tough guy.”

    Keeping It Real

    Yen’s performance in Ip Man proved that traditional kung fu choreography wasn’t passé. Not once did he break wing chun form for the sake of flashy moves, fancy kicks or excessive gymnastics. I asked Shahlavi if the sequel had him doing what often happens in Chinese kung fu films that feature Western villains — no matter whether the foreigners are boxers or wrestlers, their fight scenes wind up looking more Asian than Western.

    “I thought it was going to be a lot more martial arty, but Sammo wanted it to [show as much] real boxing as possible — to box like it was 1949,” Shahlavi said. “Every time if I’d throw a punch and lower my guard so you can see the actor’s face, he’d say, ‘Protect yourself at all times.’ It was important to make the fights as authentic as possible.”

    Darren Shahlavi in Ip Man 2.

    (Photo Courtesy of Well Go USA)

    Keeping fights authentic is easy for a man with Shahlavi’s background. His training began with judo, then migrated to shorei-ryu karate, kickboxing, taekwondo and Thai boxing. Throughout his education, he always focused on skills that would serve him in filmmaking.

    “Donnie and I actually missed kicking,” Shahlavi said. “It was interesting [that] during his wing chun fights, Donnie really conserved his energy. He was on a one-protein-shake-a-day [diet], so I’m sure the fights took quite a bit out of him.”

    Playing the Part

    Like most Chinese arts, the kung fu styles featured in Ip Man 2, hung gar and wing chun, have long lineages. While it’s challenging for historians to separate fact from legend and discern the truth, it was just as challenging for Shahlavi to portray a character in a movie based on a real-life legend.

    “Prior to my first shot in the film, where I’m laying down the challenge to fight any Chinese person, I was handed a piece of paper with some broken-English dialogue,” he said. “It didn’t make sense to me, so I sat there rewriting my lines. In fact, most of the time I had to rewrite my lines so they’d make sense.”

    Shahlavi paused for a moment, then sighed and continued: “It was also tough saying one particular line, something I was quite resistant against, but the filmmakers insisted, saying the audience [had to] hate me. It was when I had to scream at Sammo’s character, ‘Get that yellow piece of fat out of here.’

    “One review I read afterward said, ‘Hope the actor is happy and made a lot of money portraying a character like that.’

    “It’s just a movie, but it was hard to say that to my idol.”

    Go here to order Dr. Craig D. Reid’s book The Ultimate Guide to Martial Arts Movies of the 1970s: 500+ Films Loaded With Action, Weapons and Warriors.

  • Ca se discute spécial arts martiaux, 18 ans après, avec Richard Douieb & Franck Ropers

    Pour ceux qui étaient en âge de regarder la télévision en 1996, plus précisément le mardi 28 mai 1996, une émission a pas mal révolutionné les arts martiaux en France… il s’agissait d’un plateau de « Ca se discute », une des émissions phares du service public, présentée par Jean-Luc Delarue. Extrait : J’ai demandé à Richard […]

  • Roy Dean - This week in BJJ Episode 70 Part 2 of 2 half guard submissions


    Roy Dean breaks down some nice variations and finishes from the Kimura position from half guard. Great details here! Brought to you by http://www.Budovideos.com 7495 Anaconda Ave. Garden Grove CA 92841 800.451.4828 Follow us on http://www.facebook.com/budo4life and http://www.twitter.com/budovideos
    Views: 92
    4 ratings
    Time: 04:45 More in Sports

  • Roy Dean - This week in BJJ Episode 70 Part 1 of 2


    Roy Dean joins Budo Jake in this weeks episode of TWIBJJ. Roy breaks down his Traditional martial arts lineage as well as the next stage in his BJJ career. Brought to you by http://www.Budovideos.com 7495 Anaconda Ave. Garden Grove CA 92841 800.451.4828 Follow us on http://www.facebook.com/budo4life and http://www.twitter.com/budovideos
    Views: 90
    4 ratings
    Time: 52:13 More in Sports

  • The Bruce Lee Collection, par Black Belt Magazine

    Il est désormais possible de télécharger ce livre en ligne au format digital, via le site du magazine BLACK BELT. Ce collectible n'est bien sûr pas gratuit, mais intéressera tous les fans puisqu'il compile les numéros de Black Belt allant d'Octobre 1967 à Juillet 2012 où sont consacrés[...]

  • Filipino Martial Artist Showcased in Quirky Film Tilted The Search for Weng Weng

    The Search for Weng Weng (2013) is a far-out documentary about video-store owner Andrew Leavold’s obsession with a Filipino action-martial arts film. The connection was made more than 20 years ago — Leavold watched a bootleg VHS copy of For Your Height Only (also called For Y’ur Height Only), a 1981 movie that featured an enigmatic Filipino karate star named Weng Weng, who happens to be a dwarf. When wacky meets crazy like it does in this movie, the results are entertaining, and just when you think it can’t get any nuttier, it does.

    Playing a James Bond-ish secret agent, Weng Weng, who stood 2 feet 9 inches tall, became the face of Filipino movies in the early 1980s — and then vanished a few years later. Before the making of this documentary, very little was known about the life and times of this action-film icon. Various urban legends hold that he was a dental student, a stand-up comic, a customs officer, a karaoke star and a real-life secret agent. The ambiguity was the reason Leavold embarked on a mission to uncover the truth.

    In the documentary, Leavold lands in the Philippines, armed with no contacts or clues — but with plenty of questions about Weng Weng. One day, Leavold reaches out to an unassuming man in a parking lot. “Have you heard of Weng Weng?” Leavold asks. As luck would have it, the man is a film editor named Edgardo “Boy” Virarao, who just happened to edit all Weng Weng’s movies.

    Next, serendipity sends Leavold on an adventure that has him meeting many top Filipino filmmakers, martial artists and stuntmen from the 1970s — people he’s been trying to track down for 10 years. The stars share their memories of Weng Weng — who reportedly also trained in jeet kune do under Dan Inosanto — and confirm that he did all his own fights and even the dangerous stunts.

    The Search for Weng Weng

    But it gets even better. One of those stars has a connection to Weng Weng’s only living relative, a brother who’s willing to speak on camera. The snowball gathers more speed when a subsequent interview with a Filipino film historian ends with this remark: “You should talk to Imelda Marcos … I know her number.”

    Apart from being the widow of Ferdinand Marcos, former president of the Philippines, Imelda is a patron of the arts. In 1982 she organized the first Manila International Film Festival, which put the Philippines and Weng Weng in the international cinema spotlight. Leavold’s two days with her result in some must-see scenes.

    The Search for Weng Weng

    By the time The Search for Weng Weng concludes, all Leavold’s questions are answered. Among other things, he learns who gave Weng Weng his name and why. It’s surreal how all the pieces of the puzzle come together, offering tangible proof that sometimes passion can be enough to see things through.

    (Illustrations courtesy of Andrew Leavold)

    Go here to order Dr. Craig D. Reid’s book The Ultimate Guide to Martial Arts Movies of the 1970s: 500+ Films Loaded With Action, Weapons and Warriors.

  • Interview: Katherine Loukopoulos Sensei (Part 2)

    This is a continuation of the interview with Katherine Loukopoulos Sensei. In Part 1, Loukopoulos Sensei discussed some of her earliest martial arts experiences and some of the challenges she faced as a woman in a predominantly male environment. In part 2, Loukopoulos Sensei dives more into her experience in Okinawa, motivations for traveling and teaching, and what she hopes her martial arts organization will accomplish.




    Q: Loukopoulos Sensei, did you have a formal invitation to train with Nagamine Sensei from one of your previous instructors or did you just show up and hope for the best?

    I did not have a Letter of Recommendation; I just showed up and hoped for the best!

    Q: What were your early impressions of Okinawa and its people?

    My early impressions are the same as today. Okinawans are a gentle, kind, and smiling type of people. On the surface all is calm and gentle. Underneath the surface, it is an intricate cultural system where everyone struggles to achieve without being perceived as hurting others. All are in the service of the greater good. Within those parameters, a foreigner can easily make mistakes beyond repair. Worse yet, the foreigner would never know it.

    Q: How was training with Nagamine Sensei similar or different than your training experiences in the USA?

    The training in Nagamine Sensei’s Hombu Dojo was exactly, to the letter, the same as in the Heshiki Sensei’s Dojo. Or, better said, Heshiki Sensei’s training was an exact copy of the Hombu Dojo. Warm-ups, moving and stationary basics, kata, general strength and fitness were in the same order. What was different was that Heshiki Sensei had huge number of repetitions. For example: If we did 60 squat punches in the Hombu Dojo, we executed 1000 in the Heshiki Dojo.

    In both Hombu and Heshiki Sensei’s dojo we sat zazen.

    katherine seated meditation

    Q: Did you continue experiencing the Zen influence of the style while training in Nagamine Sensei’s dojo?

    Yes, we had zazen before every morning class, and zazen at the end of the last class of the day. Both the morning and the night zazen training were led by Nagamine Sensei. In the very rare occasions when Nagamine Sensei was not there, the training would be led by the next-in-line senior instructor.

    Q: How long did you stay on Okinawa and did you participate in demonstrations or competitions while there?

    I stayed on Okinawa from August 1985 to December 2000. In that period, I participated in most cultural and martial arts events. I competed in government and privately sanctioned martial arts events, and also, participated and competed on US Military installations.



    Q: When did you begin serious international travel to spread the art of Matsubayashi Ryu? What motivated you to travel far and wide to countries like Russia, Austria, Sweden, and back to Greece?

    I was traveling and teaching during the same years I was on the US Team. In fact, I had two students on the US Team also. Faith Barbera was in Kumite Lightweight Category, and Tammy Harwood was in the Middleweight Category. During those years I traveled and taught extensively in the US and in Caribbean countries.

    When I lived on Okinawa, there was a continuous flow of karateka from abroad. My name was given to people who wanted to visit Okinawa, and were told that I would be the person that could help them get into a dojo. I served as a bridge for a huge amount of karateka. Many of those who knew me from my competition days on the National Team saw me on Okinawa performing, demonstrating, teaching, and connecting people to various dojo . . . and so, the invitations to their countries began.



    Q: What do you think makes Matsubayashi Ryu a special and complete art? Is there anything in particular you love about it?

    I don’t know if we can consider any given art as COMPLETE. We strive to achieve perfection as best we can, knowing we can never reach that pinnacle.

    Matsubayashi Ryu is pretty. Another person, from Kobayashi Ryu will say that Kobayashi Ryu is pretty. I was born in Greece, and I believe that Greece is one of the prettiest places on the planet. The same will be said by a person born in Mongolia, and so on.

    Matsubayashi Ryu shares similar elements with other Okinawa styles, so I would not call it special or complete. I would say that I feel I made a very good choice. If we consider something as COMPLETE, and we have learned all of its content, then we become satisfied and stop researching further . . . thus, there would be no, or very little future growth.

    Q: What are your goals with the Bubishi Karate Do Organization, Inc.? How do you hope it helps the karate world?

    The Bubishi Karate Do Organization is a not-for-profit organization registered with the State of New York. Since I am not in the United States at this time, it is only in name. I do not charge membership fees. I only charge teaching fees. There are no contracts and no agreements. Simply the students learn, and are awarded their ranks without charge. They are free to learn as they like, and from other persons as well. There are no restrictions, except that the techniques must be acquired to the best of their abilities as were dictated by Okinawa.

    I originally had my HQ in Brooklyn, NY. Besides the martial arts programs, we had a painting class once a week, monthly field trips, weekly outdoor trainings, dances, and an after school care program where students were assisted with their homework. A hot organic meal was served daily.

    katherine samisen

    Loukopoulos Sensei playing the Samisen and demonstrating the diversity of her cultural sharing.

    All of our instructors came through the ranks. They were paid well, but had to maintain a B+ school average if they were still in school. Self-esteem grew large in this ghetto dojo. Students excelled, and many went on to college with full scholarships.

    In Greece I do not have a dojo. The Greek government controls all sports, and therefore controls the Amateur Karate governing body. Okinawa karate styles are not recognized, and therefore, they are not sanctioned. So, I teach privately, in my home, in other people’s homes, rooftops, beaches, parks, mountain sides, etc., and I do get the job done. Last month, December, we had our first Shodan in Ryu Kyu Kobudo. I consider it a milestone since I am operating under the radar.

    Q: What qualities did you see in Okinawan and Japanese dojo(s) that you think the Greek, USA, and European dojo(s) would benefit from emulating?

    What one sees in the Japanese/Okinawa dojo is a representation of the Japanese/Okinawa culture. Westerners copy the dojo etiquette thinking that this is the dojo etiquette. No, it is not just dojo etiquette; it is a general etiquette. In fact, universities and public school dojo are stricter than the neighborhood dojo. Respect for the teachers, sempai and kohai is the same in the public schools and neighborhood dojo.

    So, unless the western person actually learns and feels respect, he will not really know the feeling of respect in the dojo. It is simply “acting.”

    Q:You have a number of books on the horizon – could you tell us what kinds of books you have prepared and what people might learn from them?

    Hundreds if not thousands of books have been written on almost every aspect of the martial arts. Each book is unique and has something to offer; therefore, I am not going to devote too much space on techniques, but on the teachers themselves. I lived with them in and out of the dojo. I stayed on Okinawa until, one by one, they passed away. I kept daily journals, and although I could not write everything, I will try to present the readers with a journey through my eyes.

    Q: Do you still travel to teach seminars? Where can people contact you if they want to discuss that possibility?

    Yes, I do travel and teach. Interested practitioners can reach me via Facebook, and also, via email: kloukopoulos2001@yahoo.com.

  • Hitoshi Saito, légende du judo japonais, nous a quittés

    Hitoshi Saito, aux Jeux olympiques de Los Angeles en 1984. En devenant le premier double champion olympique de judo, il avait marqué de son empreinte colossale le judo mondial. Le Japonais Hitoshi Saito, longtemps maître de la catégorie reine des lourds, est décédé mardi 20 janvier, des suites d'un cancer à 54 ans. Les médecins avaient détecté une tumeur proche de la vésicule biliaire en 2013 et son état s'était dégradé à la fin de l'année 2014, selon les médias locaux. « Il était mon plus grand rival en compétition pendant des années », a expliqué le légendaire Yasuhiro Yamashita, champion olympique toutes catégories en 1984 à Los Angeles, et actuellement vice-président de la Fédération japonaise de judo. Hitoshi Saito avait remporté l'or olympique à Los Angeles en 1984 puis à Séoul en 1988, à chaque fois dans la catégorie des +95 kg, ainsi que le titre mondial en 1983 à Moscou. Après sa carrière sportive, Saito avait pris la tête de l'équipe nationale du Japon lors des JO 2004 à Athènes et JO 2008 à Pékin.

  • Guillaume Erard : à l’intérieur de l’Aïki

    La dernière fois que j’ai vu Guillaume Erard, il était sur le départ pour vivre son rêve : pratiquer l’aïkido au Hombu Dojo. Français pratiquant en Irlande, il a été mon compagnon principal de route pendant l’aventure d’Aïkidoka Magazine. Passionné, rigoureux, scientifique, têtu, travailleur, on pourrait lui coller bien des adjectifs. Mais aujourd’hui c’est surtout un excellent observateur de la vie japonaise et de la pratique de l’Aïkido et du Daït ryu. Il nous livre dans cette interview un accès directement à l’intérieur de la pratique du Hombu dojo et de la culture martiale. Passionnant ! Ivan Bel : Guillaume, la dernière fois que j’ai écrit sur toi, tu partais pour le Japon pour réaliser ton rêve : étudier l’aïkido au Hombu Dojo. Cela fait combien de temps maintenant que tu es sur place ? As-tu réalisé ton rêve ou du moins une partie ? Guillaume Erard : Je suis parti pour le Japon en octobre 2009 donc ça fait un peu plus de cinq ans. Lorsque j’étais enfant, je rêvais de découvrir ce pays mystérieux et naïvement, peut-être qu’au fond de moi, je voulais devenir un peu Japonais. Si j’analyse les choses avec mes yeux d’adultes, j’ai la chance d’être marié

  • How To Catch Two Punches


    Master Ken follows up last week’s lesson by showing you how to catch more than one punch. Music by Kevin MacLeod at www.incompetech.com Links: Improve Your Kill Face: https://www.youtube.com/watch?v=p9IacolG-C4 How to Catch A Punch: https://www.youtube.com/watch?v=z-Jf40jq1jg Get Your White Belt: https://www.youtube.com/watch?v=vFXci_RkYlM
    Views: 301
    114 ratings
    Time: 01:59 More in Comedy

  • Articles | L'effet des Kettlebell Snatch sur la performance aérobie

    Le travail avec kettlebell est devenu très populaire depuis une dizaine d'années. Et si les bénéfices sur la force, la puissance et l'explosivité sont désormais avérés, il n'en est pas encore tout à fait de même pour les performances aérobie. Il reste en effet à savoir si le débit maximal d'oxygène peut être amélioré...

  • Got Racism?

    This is a flyer from the first professional kickboxing card held in the US. I first chanced upon this image from the book Al Weiss' the Official History of Karate in America. The organizer for this event, one Lee Faulkner, apparently took some well-deserved heat* for the inclusion of this little gem:


    Lewis did go on to defeat Baines (misspelled as Banies), but that's besides the point. One wonders if either man realized they were being used for race-baiting in an attempt to drum up ticket sales.


    When Bruce Lee began teaching martial arts in California in the early 60s there was outrage in the Chinese community because of Lee's open door policy of instructing non-Chinese students. A match was arranged between Lee and Wong Jack Man, another kung-fu sifu from the area, with the understanding that if Lee lost he would have to close his school down. A victory by Lee would ensure that he could teach Caucasians or anyone else he wanted to. Lee prevailed, the bout taking either 3 or 25 minutes, depending on who was asked. Within a few years, Lee would begin to instruct Hollywood's elite, charging up to $300 per hour.

    Speaking of kung-fu here's a clip from the popular 70s TV show of the same name depicting how a skilled but ethical warrior deals with some barroom racism. Ironically the lead role of Caine, the orphaned son of a Chinese mother and American father, was originally supposed to go to Bruce Lee (who reputedly contributed to the storyline) but was turned down. Instead, the part was given to David Carradine, an actor with hitherto no background in the martial arts. The reason: Lee was considered "too Chinese" to play the mixed-race character.

    The method of nonviolence seeks not to humiliate and not to defeat the oppressor, but it seeks to win his friendship and his understanding. And thereby and therefore the aftermath of this method is reconciliation.

    — Martin Luther King, Jr., 1956

    *Mitch Stom 1970. Black Belt (Magazine). Vol. 8, No. 3, p.55.

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