Yume Dojo

Shizenryu Jutsu

Glendale, Arizona

Arts of Shizenryu Jutsu:

Kempo Curriculum:

• Hawaiian Kempo

• Okinawan Kempo

• Japanese Kempo

• American Kenpo

Jujutsu Curriculum:

• Japanese Jujutsu

• Hawaiian Jujutsu

• Okinawan Jutsu

• Chin Na

New Waza (Groundwork) Curriculum:

• Sambo

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This article is written by Awatea Edwin . Awatea is a Maori warrior and inherited his art of Ue-Kaha No Roto from his Great Uncle. The art has been passed down generation to generation and is a native Maori art. Awatea also studies internal Chinese systems and is a true modern day warrior. We hope you find this article interesting.

The Maori Way

by

Awatea Edwin

Ue-Kaha No Roto – Southern Maori Warrior Methods

These Maori formed into various tribal affiliations based on genealogy often traced back to ancestors, who arrived on the voyaging canoes of centuries ago, that had departed from Hawaiki. They arrived in Aotearoa[1] (the north island) and Ta Wai Pounemu[2] (the south island) with an already highly advanced warrior training method. This method would then over many centuries, evolve into hundreds if not thousands of systems and styles of combat. Each master warrior would develop particular skills and teach this to a new generation who would then define themselves within the learning and pass on their interpretations of these to the following generations and so on, just as the warriors who headed north and east did the same in the new lands the came to.

Many aspects of the environment affect and influenced these people in how they each evolved not only their martial skills but also their language and wider cultural nuances. Therefore it is obvious that the language and culture, including the martial arts of a tribal group in the far north of New Zealand’s North Island and those of the tribes in the far south of the South Island would diverge into differences that suited their place of existence.

I am a descendent of the southern tribes (Rabuvai, Hawea, Waitaha, Kati Mamoe and Kai Tahu are my tribes and my sub-tribe descended from all of the above is called Kati Huirapa) and my expression of these warrior arts/skills and the language and culture by which I express these is that of the southern environment. And it is from this base that I share with you these, my writings on our southern warrior tradition of Ue-Kaha No Roto.

Training with Maipi in 2000

Ue-Kaha No Roto

This is the name given to the warrior system that I teach it was given by the previous generation warrior, Poua[3] Huata Holmes, who is the last of the elders of the old order of southern Maori.The art is transmitted via wanaga[4] / seminars and also by way of private tuition.

The next stage of development is underway currently and involves the setting up of a warrior training school in the South Island and growing a warrior network with other warrior traditions here in New Zealand and throughout the world.

Ue-Kaha No Roto is also being taught openly to non-Maori which, is a first for this tradition of the south.

There are various other warrior methods now being shared across New Zealand. These efforts are ensuring a revival of many nearly lost and forgotten Maori warrior traditions.

 The methods of development in Ue-Kaha No Roto begin with weapons training and progresses to empty handed methods and healing arts. It also encompasses food gathering and preparation as well as many other traditional skills for survival.

Awatea demonstrating in Dubai 2005

This article is also written by Awatea Edwin. The article explains the two tier training system of Awatea's art of Ue-Kaha No Roto. Thanks to Awatea's influence, Yume Dojo has adopted this two tier system. To see how Yume Dojo employs this process, check out the Yume Dojo Homepage and scroll the the bottom of the page. We hope you will enjoy this article and an insight into other methods of training.

Two Tracks of Ue-Kaha No Roto[1]

In the warrior school of Ue-Kaha No Roto a complete system of martial skills, art and science is taught. This system is complete with physical skills and drills, philosophyand theories and applied science. However, due to the complex nature of this we teach the system by way of a two-track process.

 Track One

The first track of learning involves two levels and is directed at those prepared to become formidable warriors in the field of combat but without a need to become teachers or leaders. In other words, this track of learning is directed at the general warrior looking to participate in combat against a defined enemy in known conditions.

Included in this track are the levels of Pia[2] and Taura[3]. Each level has five grades of experience and each grade consists of skills training and drills. These are supported by forms training which present the core skills and principles of Ue-Kaha No Roto to the student-warriors. The training of these ten grades will develop the combat capability of very formidable warriors. It is generally expected that an akoako[4] (learner) will spend a minimum of three years within these two levels.

 Pia/Level 1

•  Papatahi[5]

          Learn all basic stances and footwork

          All basic strikes with Maipi[6] / Koikoi[7]

          Mua-uboko[8] introduced

Must be competent in all of the above before moving on to Paparua[9]

•  Paparua

          First three applications from Mua-uboko

          Two person striking drills

          Introduce stick jumping drills

          Side-advancing steps

Must be competent in all of the above before moving on to   Papatoru[10]

•  Papatoru

          Side-advance vs poua-uboko[11]

          -add counterstrike

          Manu a Tane[12] introduced (all names must be known).

Begin to understand the different attitudes and expressions of the manu.

Must be competent in all of the above before moving on to Papawha[13]

•  Papawha

          Introduce two breathing exercises (Pouakai[14] and Haumi[15])

          Haka[16] (Ki okioki e[17])

          Extra striking drills

          Extra body shifting drills.

          Develop unity of body-motion.

Must be competent in all of the above before moving on to Paparima[18]

•  Paparima

(Kai-awhina) For graduation to Paparima the Pia must know and show skill in all the training from Level 1

Assist all other Pia in their learning and development. Additional combat drills are added to Paparima/Kai-awhina[19] training to prepare for Taura/Level 2.

Taura/Level2

• Papaono[20]

          Tanerua[21] is introduced.

          Haka (Aue tatou[22])

          Review Mua-uboko and Manu a Tane

          Advanced applications from above sets

•  Papafitu[23]

          Patu[24] Drills introduced.

          Garara[25] set with single patu introduced.

          Entry and avoidance drills.

Must be competent in all of the above before moving on to Papawaru[26]

•  Papawaru

          Garara set with single patu reviewed

          Entry and avoidance drills

Patu versus Patu drills

Must be competent in all of the above before moving on to Papaiwa[27]

•  Papaiwa

          Manu a Tane[28] with single patu

          Advanced drills patu vs patu

          Disarms using patu

          Review all Taura and Pia training before graduation to Kahuru[29]

•  Kahuru

          Introduce Akau Tai-toka[30] set with Maipi/Koikoi

Taura-Kahuru will assist Tauira in over-seeing the development and training of all Pia and Taura

 Track Two

The second track is designed for those chosen to lead and indeed pass the learning on to the next generation of warriors and leaders. This track begins with the learner being accepted as a Tauira[31] and is taught as a separate school distinct from the previous track (although the first track curriculum is included in the total training of this track).

All of the principles of Ue-Kaha No Roto are taught and explained until they are thoroughly understood and repeatable. All strategies and combat science are studied and an understanding of all current combat theories is encouraged. Survival is the principle at the base of this level of training.

The various phases of this track are defined by their names and are earned as comprehension and skill develop appropriately.

There are five basic phases with additional titles within each as well as warrior names which are taken as the warrior progresses.

1.     Tauira – entry phase (literally an example) at this level the student learns the basic skills of the warrior science of Ue-Kaha No Roto including the patu forms of the Ruruku and Manu a Tane and the Maipi forms Manu a Tane and Kara-fiu-ribo-ribo[32].   Along with these forms many drills and stance exercises are practiced. An introduction to the scientific principles is also presented allowing the Tauira into the inner workings of the Ue-Kaha No Roto martial science.

2. Kai-faka-ako-teacher. At this level the student is encouraged to further understand the science of Ue-Kaha No Roto by way of passing their knowledge on to the new Tauira. Several new forms are presented including the patu form Garara and the Mua-upoko, Tane-rua, Tohuga[33] and others. The huata[34] is also introduced here and the Kai-faka-ako is encouraged to investigate other weapons as well as being introduced to the empty hand skills of this martial science.

 Additional to these skills the Kai-faka-ako is introduced to the healing arts of rogo-rakau[35], mirimiri[36] and honohono[37].

    3. Pou-faka-ako-senior teacher. These senior teachers are responsible for the Wanaga of Ue-Kaha No Roto and oversee the training of all Tauira and continually work at raising the level of skill of the Kai-faka-ako. 

4. Bugena -Master teacher. This level is reached only after many years of training. The Bugena is the head of their own Wanaga[38] and will be constantly improving their knowledge and researching the sciences of combat, strategy, healing and all other life skills.

     5. Ariki[39]- Grandmaster. The Ariki of Ue-Kaha No Roto is selected by the    current Ariki and is known as the Bou-aru (Pou-waru) until the current Ariki passes on to the Ao-wairua[40]. Only after this will the new Ariki take this title.

 One further title exists but is only given after the Ariki passes on this title is Matua-Ariki[41].

 © AUTHOR Awatea Edwin                   April 3, 2009

We want to thank Awatea Edwin for taking the time and writing this article and sharing this the Martial Arts community. Awatea is a modern day warrior and getting his perspective and how the native Maori arts are set up is a honor for this web site. We hope you found this interesting.

Heroes

by

Shihan Lou Klaff

     My generation is one of hero worship. Form my earliest memories there was always a hero in my life. From when I was very young, there was always "Hop A Long" Cassidy, Roy Rogers and my personal favorite the Lone Ranger.  From cowboys we moved to Army men and sport heroes. My favorite was Combat, a series of adventures of 5-6 men during World War II. I would later in life meet the real heroes of that war. For me baseball had true heroes, like Mickey Mantle and my favorite Brooks Robinson. There are probably idle names for you, however for me, growing up, these people were my heroes and role models. Today its quite different, many 'stars' don't want to be idolized or role models. Charles Barkley came out and said he didn't want to be a role model. Its very hard to find role models and heroes today, a turtle in Samurai gear, or a truck turning into a robot is not what legends are made of.

     Next in line for me growing up the heroes became a bit more real and serious. Bobby Kennedy, the younger brother of John, was my hero, young, a lawyer and then a politician. I wanted to be Bobby Kennedy, but a Jew from the south would have a hard time matching his success. In my college years I studied the great leaders of our country. Generals George Patton and Omar Bradley were my new heroes. It was here I started studying Martial Arts and people like Bruce Lee and Chuck Norris were my new heroes. As I became more involved in Martial Arts, I found others who became heroes to me as well, O'Sensei Ueshieba, Gichin Funakoshi and Chosun Miyagi. My life became dedicated to family and Martial Arts. My father was a hero of course and helped me become a family man. But the more Martial Arts I studied the more heroes I found; Shogo Kuniba, Terou Hayashi, John Simmons and Moses Powell. All these men offered me something to help me grow and move on to new levels in understanding the Martial Arts.

     As I grew I found myself learning more and more about life and people I looked to as leaders. General Wesley Clark became someone I felt was a fabulous leader, and also a great man. His approach and his demeanor was something you don't see in a politician very often. I read his biography and he instantly became one of my heroes. But probably my most touching time was when I met the Band of Brothers, from HBO fame. I met the real heroes who hated to be called heroes. I get Goosebumps when I think about that day today. These men served in World War II and all survived some terrible times, but what is to be so respected is how long these men have been close with one another, 'Brothers' to each other. All laid their lives on the line for each other. I was never so touched as I was when I was surrounded by these men. They were no saints, but what they accomplished during the war, but more so, after the war was a real tribute to their lives. These men will always have my undying loyalty and respect, and will always be heroes to me.

     You may find it odd that a man over 50 years old would have heroes in his life or look for them. However, today there are two men who are my heroes, men who epitomize to me what a man should be and also, what a Martial Artist should be. They are Hanshi Bruce Juchnik, from Kosho Shorei Kempo and Professor Libert O'Sullivan, from Danzan Ryu. If you go to the Sensei Spotlight page, you can see a bio of both these great men. What makes them heroes to me may surprise you. Of course they are phenomenal Martial Artists, but more so they are great men. They are both represent everything good in the Martial Arts, and more so of how to live their lives. I can only hope to half the man they are. They are easy going, laid back, forgiving, and its hard to hear a bad word from either of them. Someone asked me what I would like to accomplish in the Martial Arts, and my answer was I'd like for people to view me, they way they view these men. I would love to walk in a room and have people greet me and be excited about seeing me as they are when either of these men get when they walk in a room. Both are legends in the Martial Arts, but more so, great examples of how to act and treat people. Both will take their time and share their arts, both are dedicated to passing along their arts and the teachings of their Sensei. Professor O'Sulivan is one of the last students who trained directly under Professor Henry Okazaki, the founder of Danzan Ryu. It would be real easy for him to have created his own system, instead he has dedicated his teachings to that exactly of Professor Okazaki, and does it in a very caring and laid back fashion. Neither man has an ego, or an attitude. Their approach to training and life is humility, and always have others in the forefront. It s never about them, but rather their students, their art, their Sensei, and sharing their knowledge. How can someone not see these men as heroes?

     So coming from an era where your heroes guided your life, today these two great men guide mine and I am honored and humbled that they share their time and their arts with me. They are truly my modern day heroes.

Where is Number 2?

by

Shihan Lou Klaff

          I recently had the opportunity to train with Professor Libert O'Sullivan at a seminar in California. Professor O'Sullivan is one of the few students left who trained under Professor Henry Okazaki, the founder of Danzan Ryu Jujutsu. Professor O'Sullivan received his Black belt in 1949 from Professor Okazaki, along with some of Professor Okazaki's senior students including Professor Wally Jay and Professor Sig Kufferath. Professor O'Sullivan's focus for the seminar was "where's number 2", a theme he stressed all weekend. Professor not only had a Black Belt but he also served in the military as a MP (military police). So he knows what works for real on the street and what doesn't. The main point of the weekends teaching was to keep things simple ( no more than 2-3 movements) and to always be aware of number 2, a partner or friend or gang who are with the attacker. He showed how a complicated technique could take too much time, giving the attacker a chance to counter or gang up on the victim. Professor shared simple but effective technique. He shared the difference between "dojo technique" and "street technique". There is nothing wrong learning techniques in the dojo as they teach several different things, however not all techniques can be applied the same way on the street. Professor showed how to cut down the movements, making techniques more efficient, and also to keep an eye out for number 2 and watch out how to position the body to not have blind spots. Streamlining techniques is important, but making sure the attacker can not continue the attack is also very important. These two are very important concepts in dealing with REAL self defense. The Japanese call this Jissen, street worthy  self defense. All techniques need to be made Jissen, or street worthy, by cutting down the movements or adapting the technique for use on the street. I believe the students at the seminar heard Professor, but am not sure they listened and took to heart what he was trying to stress.

          Recently here in Arizona two young man got into a fight in the parking lot of a night club. This is not an uncommon event. The two men began the fight and the attacker was handled easily. However, Number 2, his friend happened to be inside a Hummer watching his friend get beaten up. The man in the Hummer hit the young man who had taken the best of the attacker. Sadly, he did not see Number 2 and was hit and thrown by the Hummer and  the driver took off. Sadly, the young man hit by the Hummer passed away. Its a terrible shame and a waste of human life. However it is also an example of Where is Number 2" and how important it is to be aware of more than 1 person when in an encounter. The Japanese have a saying:

"Treat one like many..........and many like one"

This is a very important concept, to be always aware of more than 1 attacker and also when facing more than one, you treat each attacker and try not to handle all 5 or so at one time.

          In this tragedy, there was probably nothing the young man could have done to prevent the attack with the Hummer. But it can drive home what Professor O'Sullivan was trying to stress, being sure that you are aware of more than 1 person in any attack, and also not to put yourself in a position that the second person can sneak up and come up behind you.  A good example of that is if the two were fighting on the ground. Someone in a car could easily run you over while you are on the ground. Not only running you over, but also could put a vehicle in a position to limit your movements. In this case, one has to be really aware when going to the ground. This is not to say ground work, Brazillian Jujutsu or Sambo is bad (We do an extensive ground work curriculum including Sambo at Yume Dojo), however to be very aware when going to the ground. Not every situation is best served by fighting on the ground, especially in unfamiliar settings with unfamiliar people around.

         We at Yume Dojo offer our sincere condolences to the family of the young man who passed away during this encounter. We would like to also share this so people will take to heart and understand that there is more to self defense than just training in a Dojo doing curriculum or fighting in a cage or a ring. On the street, its for real, and what works in the dojo may not work the same way on the street, if nothing else, the venue or environment may be different. In a bar, is not the same as in a dojo or in a ring. I hope those reading this will heed the advise of Professor O'Sullivan,

•  keep your techniques simple, 1 to 2 movements are best

•  always keep an eye out for Number 2

•  make sure your technique does not lock you into one person where you can't defend against more

Its a shame and a tragedy that something like this can happen, but also a wake up call to be aware of the surroundings and how one handles an attack. For more information on streamlining your technique and making them Jissen, feel free to e-mail us at:

yumedojo@cox.net

This next Article was written by Yahoo Sports and was on the web not long ago. We are reprinting this article because much has been made of late about the new MMA craze and the long standing boxing venue. Many people feel boxing may fall by the wayside with the new MMA events. Here is a look from another side of the coin.

Boxing vs. MMA: A contrast of styles

LAS VEGAS – Oscar De La Hoya’s one-sided loss to Manny Pacquiao on Saturday night once again raises questions about the future of the boxing business. Was Saturday night the last night that a boxing event can capture the interest of the general public and become the center-stage event on the sports calendar?

And is the rise of mixed martial arts a threat to boxing?

De Le Hoya stopped short of announcing his retirement in the ring, but he spoke in terms of the body being unable to do what the mind is willing it to do. “If it’s the end of Oscar De La Hoya, it’s the beginning of the superstardom of Manny Pacquiao,” said HBO Sports president Ross Greenburg, insisting boxing is alive and healthy. “In my eyes it’s just the passing of the baton, like when Marciano beat Louis and Holmes beat Ali.”

Greenburg admits there will have to be some business tweaks made due to the state of the economy, such as lowering ticket prices to major events, and he foresees more major fights on HBO next year instead of pay-per-view. While there are plenty of big matches in 2009, it’s been years since a crossover drawing card like De La Hoya, or Mike Tyson before him, has been created. Someone like that may be a 16-year-old kid today hitting a speedbag in the gym,” Greenburg said.

But which fighting sport will that kid decide to pursue?

 “When I got here in Las Vegas, there had to be 15 boxing gyms,” said Dana White, president of the Ultimate Fighting Championship, who attended Saturday night’s card. “Now there are two. We own one and Bob Arum owns the other.”

Attending a major boxing event and a UFC event just a few weeks apart at the same MGM Grand Garden Arena doesn’t seem to support the notion that boxing fans will abandon the sport in favor of MMA. MMA major events, like the Brock Lesnar-Randy Couture match Nov. 15 in the same venue, draws predominately white men, with a decent smattering of women, mostly between the ages of 20-35, and very few minorities. Saturday night’s show drew a decidedly older crowd, and for the most part, the younger fans in the crowd were nationalistic, with Latinos supporting De La Hoya and Filipinos backing Pacquiao.

Boxing’s advantages are based on its longevity as a major sport, with a media contingent that dwarfs even the biggest UFC event, and a list of celebrities that seemed to take forever to run down. UFC major events have some well-known celebrities but nothing comparable. And interestingly, one not mentioned by Michael Buffer but shown earlier in the night on the screen making a prediction (for De La Hoya), was former UFC star Tito Ortiz. Ortiz was not only recognized instantly but booed heavily, almost like he was an intruder.

“MMA doesn’t affect the popularity of boxing,” said Greenburg. “They are two entirely different sports. It would be like saying basketball affects the popularity of baseball.” But when it comes to the show itself, pacing and live-event production, the edge clearly goes to MMA, which even Ricky Hatton noted when he attended the Lesnar-Couture match. “The presentation and general approach of the UFC is something that boxing can learn a great deal from,” Hatton told Sky Sports. “For instance, they have big screens around the arena with pre-fight interviews which really get the crowd involved. Why can’t we do that at boxing matches?”

This didn’t go unnoticed by White. “Did you see the production? And that was HBO. Maybe they should give us some of their Emmys. The pacing was awful. There was no energy in the crowd. They had to loop Pacquiao’s music when he came out because he had to walk so far.”

At MMA events, the crowd arrives early and they get into almost every fight on the show. There isn’t nearly the amount of dead time between matches as in boxing. There are more screens set up in the arena to give spectators a better view. While Saturday’s main event was as exciting as the best UFC main event, most of the crowd had no interest in anyone on the undercard.

Another positive on the UFC end is that it has only have five championships, and most fans know every champion, similar to boxing in a previous generation. Boxing destroyed the value of championships with so many titles that even the most ardent fans can’t keep them all straight. While Greenburg thinks you can only ask fans to put down $50 a few times a year for the biggest fights in 2009, White doesn’t think the economy is going to make a difference in pay-per-view numbers, citing his audience will get together in big groups and chip in to buy the show about once a month.

But he does concede they also are going to have to lower the ticket prices to the live events. “I love boxing as a sport and I came from boxing, but this was a bad day for boxing,” White said. “[Floyd] Mayweather’s probably running out of money and will probably return to face Pacquiao, and I’d pick Mayweather in that one, but nobody is going to draw like De La Hoya does.”

Now here is another view of MMA in regards to traditional Martial Arts. Please understand we all are very big MMA fans, but there is a difference between Marital Sport, Martial Arts and Boxing. Hopefully these articles shed some light on these difference

This article is written by Shihan Scotty Klaff. Shihan is the senior Instructor at Yume Dojo. He has been training for 23 years and has several Black Belts in all his years of training. One of Shihan's love is ground work and also the study of "old school" Jujutsu. Here is an article that gives an insight into how he views the MMA environment today. Shihan started training in Brazillian Jujutsu in the early 90's and has been training in different groundwork styles in these years. His training pre-dates the UFC events, and also before any Brazillian Jujutsu schools were in the area.

Mixed Martial Arts vs. Real Martial Arts

by

Shihan Scotty Klaff

 This article is going to address the burgeoning sport of mixed martial arts and it’s effect on the martial arts landscape of today.  First, I am a huge fan of mixed martial arts.  I watch all the UFC’s, I frequent message boards and chat rooms and I watch old fights from Japan religiously.  There may not be too many people out there who are more of a fan than myself.  However, just like football, baseball and hockey, MMA is a SPORT.  There are rules and regulations that are set forth by State Athletic Commissions, weight classes, referees and judges.  This is not a knock on MMA, just a qualification that it is a sport.  The promoters, presidents and marketing people behind MMA know that it is a sport because they are marketing it as such. 

Early on it was not so much a sport as a test to see which style of martial art is the best.  That is no longer the case because everybody involved in MMA cross trains with BJJ, wrestling, boxing, Thai boxing and Karate.  The problem is when people try to classify MMA as a martial art.  It is not!  It is a sport.  MMA is exactly what it’s called… Mixed Martial Arts adapted for SPORT.  Real Martial Arts is a lifelong study.  The definition of Martial is,  “relating to, or suited for war or a warrior” and “experienced in or inclined to war”.  Many people will mistake a fight in a cage or ring with a referee and judges as warfare, but it is not.  War is putting your life on the line and the ability and willingness to do whatever it takes to win a battle.  People who do this are warriors.  I believe that you train in martial arts to be physically and mentally prepared for real battles. 

I am not saying that MMA practitioners are not tough guys, or great fighters.  I would not want to face a Randy Couture or a Quinton Jackson in a cage or a ring, but I would take my chances on the street any day. I would have no qualms about striking to the groin, biting or eye gauging.  I have recently seen several fights stopped due to a fighter being poked in the eye.  This then says to me that an eye poke is a very viable weapon that should be used in combat.  Randy Couture is a tough guy and an incredible physical specimen, but poke him in the eye and he will tear up just like anyone else.  My point here is that distinction needs to be made between sport and warfare.  Some people train for sport in order to fight in a cage.  That is great, and guess what…. I will pay $50 a month to watch them do so.  But some people train for warfare and that needs to be respected as well.  War may never come but real warriors are ready for battle whenever it does.

MMA is a trend right now that is dominating the martial arts scene.  My concern is that people are moving away from traditional martial arts and into so called reality based fighting systems.  I truly believe that this trend will change soon.  Hopefully everyone will start to see the distinction between sport and Martial Arts.  There is a big difference between Dojo’s and training centers.  

Even though I love MMA as a sport, I would love to see fewer fighters wearing hats sideways, fewer promotional banners and less ridiculous sponsorships. In it’s place….. a few more bows!  That in a nutshell is the difference between Mixed Martial Arts and Real Martial Arts.

 Sensei Stacey Klaff wrote the following articles. Sensei Stacey has been training over 17 years, and is one of the top female practitioners in the country. One of the few high ranking female Jujutsu practitioners, she also excels with a knife. Sensei is an executive chef for a corporate catering service in Phoenix. Here is some of her perspectives.

THE JOYS OF TESTING

By: Sensei Stacey Klaff

     Ahh…Test time. One of the worst experiences of your life to some students. You’re asked a ton of information in a short amount of time by your instructors just staring at you trying to intimidate the hell out of you, and guess what??? It works!!! You arrive to class early that day thinking you can get some extra time reviewing your techniques or katas before dreaded test time. You might be able to even sneak the help of one of the nice “Sensei” who takes pity on you and gives you some last minute tips, and helps you remember step #10 of Nihanshi Shodan. Then it’s time for what you think is Armageddon, standing in front of your instructors and they ask you the first question: and you draw a blank…Sound familiar to any of you??? Well if it does then most of you have gone through the martial arts testing process. But allow me as a student who has gone through the process many a time to give some insight from my perspective into what some consider a dreadful process.

      Allow me to start with some of my testing experiences. As a kyu coming up through the ranks I was not what you would consider a good, diligent student. I started training at the age of 6, after my brother and dad (who are both my Shihan’s now) had already been training together for about 2 or 3 years. I decided that I couldn’t take Girl Scouts anymore because of all the little annoying girls so it was time to start studying martial arts. (Little did I know later, that would be one of the best decisions of my life). So I was considered less than average. I was pretty uncoordinated, and even though I am Shihan’s daughter by no means did that give me an advantage or did he show me any favoritism. I had to prove myself just like everyone else. So needless to say there were a couple of students in front of me (who I detested for being there), and I struggled to make it up through the ranks. The day that I started to excel was the day after an Aikido seminar with an Aikido instructor Sensei Cindy Hayashi. She was a role model for me at a young age and helped me to see where I needed to go, and from there I developed the tenacity of wanting to succeed and come up through the ranks.

     As I progressed through the ranks I went through the same rigors that I’m sure all of you have been through in your martial arts journey. Thinking that you’re never going to remember all of those techniques that your instructor is going to ask you, knowing that you’re probably going to forget some movements in your katas, nervous as hell having your instructors just sit there stone-faced just watching you, and knowing that you’re probably going to screw up. My brown belt test was insane. I was tested for 3 days on various material. At the time our system was divided into different arts, and I was to show a different art each time I was tested. Talk about brutal!!! My Shodan test was a 6-hour long test in front of a panel of 6 instructors, including my Shihans (my brother and my dad), my instructor of Okinawan karate, Soke John Simmons, and a few other instructors as well. Talk about a nervous experience. Here I had to show everything, and I mean everything to these instructors, not to mention answer verbal questions all while trying to remember the material that I was being asked. WOW!

      My Nidan test was actually a lot more comfortable for me. I was more relaxed and tested in front of my two Shihans and Hanshi Bruce Juchnik. I felt like I excelled at that test, probably my best one because I had finally understood what the whole process was about. Folks, testing is an experience and what I like to believe is now a positive experience. Back then, would I have thought that performing all of these things was positive??? No way!!! I thought my instructors just wanted to see how bad they could torture me without crying, although sometimes I did! All of you need to realize that your instructors know when it’s time for you to take a leap. They wouldn’t be testing you if they didn’t think you were ready. That’s a Sensei’s job is to know when his/her students are ready to proceed. So don’t think its some kind of horrendous torture, like being drawn or quartered, because it’s not, it’s a positive learning experience.

      Are you going to screw up? Probably, most likely. And guess what ??? We as instructors know that. We know all that information and we know what it’s supposed to look like. We want to see how you use it and how you handle it under pressure. Are you going to be nervous as hell??? Definitely! But Shihan Lou Klaff, my Shihan and father has always stressed to our students and me that it’s “Just another day on the mat.” He means that you should go out there and do your best and just treat it like any normal training day. All we as instructors want you to do is just go out there and do your best, that’s all we ask for. We don’t need you to go above and beyond, however that’s up to you! A test is a learning process, and although at the time it may feel like the worst kind of torture ever, you’re going to learn and grow from that experience. It makes you a better martial artist. If we did everything perfect in the martial arts we would all be Grandmasters by now, and we wouldn’t have to train as hard. But we’re not perfect, and I want all of you to know to try to look at the testing process as a positive experience, because if you do you might not be as nervous next time. I’m sure you probably still will be, but maybe you might take a step back and analyze it a little bit more next time! Keep training!!!

Remember: Train hard! Be humble! Fight dirty!

WHAT DOES SHIHAN MEANS TO ME

By: Sensei Stacey Klaff

       I have had the pleasure of training in the martial arts for 17 years. I started at the ripe age of 6 and haven’t turned back. Not many people in this world can say that they have been training for that long at such a young age, but I relish it, and I wouldn’t change it for anything. I’ve also been lucky in my martial arts journey to have my father as my instructor the whole way. And that is the greatest joy to me that anyone could give me! Now let me tell you, it sure wasn’t easy. In the very beginning, I was so young that I couldn’t distinguish between what Sensei was telling me and what Dad was telling me. So every time he corrected me or criticized what I was doing (which back then was quite a lot) I thought it was my Dad yelling at me and I took it personally and got big ‘ole alligator tears in my eyes almost every class. But then Shihan had a talk with me about distinguishing who was who on and off the mat, and then it just got a lot easier. I realized that he wouldn’t be criticizing me if he didn’t care. And that’s another thing I think you, as students need to realize. The minute that your instructor-be it Sifu, Shihan, Soke, Hanshi, Master, Grandmaster, etc…stops correcting or detailing you, that’s when you know you’re in trouble. The reason they do it is to get you where you need to be! I believe they have an innate 6^th sense that can tell you exactly what you’re doing wrong before you do it! That’s why they’re the Master!!!!

          Basically the purpose of this article is to enlighten everyone as to what you have staring at you in front of your face. This Christmas I put together a collection of “testimonials” if you will from the students of Yume Dojo asking them to write a small paragraph as to what Shihan (my Shihan: Shihan Lou Klaff) meant to them. I received some fantastic feedback from the students including excerpts from me, his daughter, and his son Shihan Scotty Klaff as well. To him it was one of the greatest gifts ever. Shihan teaches everyday at least 2 hours a day, non-stop. Not only is he constantly studying, but he also watches videos and practices daily. So not all of it is the physical aspect, but for Shihan, he enjoys being a student, studying the mental, spiritual and strategic aspects as well. For Shihan, he loves what he does, and thoroughly enjoys the opportunity to teach students who want to learn, but he had no idea what he meant to his students, including his own children. It was time for him to see exactly what he’s done for his students.

          Not only is Shihan Klaff a leader both on and off the mat, but also he has taken all of us on a journey that we’ll never forget. To me he is in the same league as some of the greats, like Grandmaster Wally Jay, Soke John Simmons, Hanshi Bruce Juchnik, and many other great masters that I’ve had the pleasure of training with. Although he will deny it, he really is that great a caliber of Sensei. I have been through a lot of instructors through the years, and a lot of different styles. But I can honestly say that the only place that I want to be is here at Yume Dojo studying Shizenryu Jutsu with my Shihan Lou Klaff, for the rest of my life. I want to continue to glean as much information from him as possible as long as I can. I hope that I’m as good of a student to Shihan as he is an instructor to me. There is quote that says: “People who do great things deserve greatness.” I believe that Shihan deserves more than that and he needs more recognition than he gets, and I am taking it upon myself to make sure that, that happens on a daily basis.

           My message to you as students is to appreciate and not take advantage of what you have staring at you in the face. Your instructors are there to help make you a better more well rounded martial artist and to make you a better person on and off the mat. Shihan Klaff calls it being worldly and that’s what your instructors are trying to do. Yes, they might yell and scream at you for doing something incorrect or stupid. Yes, they might crank a little bit harder on a wrist or finger lock so you get the point. But what you all need to understand is that it’s done for a reason and all that correcting and excess pain, bruises, blood, cuts, sweat, and tears is all done to make you the best martial artist that you can be and your instructors will make sure of that! So my advice to all the martial artists out there: Thank your instructors on a daily basis for all the information they give you. And just remember that they were at the same place you are and climbed obstacles to get there, and they want you to do the same. So ask questions, try to do what your instructor tells you, pull as much information out of him/her as possible, and make sure they know that you appreciate them as your instructor/mentor/leader/guide in the martial arts world and outside! To all the great instructors there and to Shihan Lou Klaff thank you for all that you have done! I will be indebted to you forever!!!

 Always in Budo,

Sensei Stacey Klaff

 P.S. I would like to give my condolences for the passing of Grandmaster Imi Okazaki-Mullins. It’s sad to see another one of the great Sensei's pass on. I had the pleasure of teaching right beside her and I wouldn’t change it for anything in the world. But I hope she knows that her legacy will be passed on! God Bless!!!

The Seminar Blues"

by

Shihan Lou Klaff

Shihan Lou Klaff is the Head Instructor at Yume Dojo. He has Black Belts in Okinawan Karate and several styles of Jujutsu. Shihan Lou and Shihan Scotty Klaff opened Yume Dojo over 15 years ago and have been teaching at the dojo ever since. One of Shihan Klaff's main interests is in researching all aspects of the Martial Arts and attends and also teaches at many Seminars. This article is an overview of some experiences at these Seminars.

      Recently, an Instructor told me that "Seminars are a waste of time". Interestingly enough, you will find that most Seminars today are suffering from a lack of attendance. I have noticed the same thing. Is the real problem the Seminar itself or something else? When asked why the Instructor felt that Seminars had little value the response was " you never learn anything". My opinion here is that could be a product of the Seminar, or a product of the student, or a product of the Instructors. I will tell you being in the same room with Professor Wally Jay made me better. I am a Seminar nut, I love to attend them and love to teach at them. I feel a Seminar is a great place to hone my teaching skills. To be able to reach people of different styles, ranks and systems and have them catch on to what I am teaching. Also, meeting some great people both on the floor and off the floor, like Professor Libert O'Sullivan shown on the left.

    However, many times you will find Instructors who teach the same thing over and over again, no matter the audience, and are not overly helpful. Attending as a student, I also find Seminars tremendously rewarding, much more so than teaching them. However it is a product of the Seminar, and who is instructing at the Seminar. So lets look at what constitutes a good Seminar and a bad one.

      I have had the opportunity to train with some of the top Masters, Grandmasters, Sensei, Shihan, Sifu, Sigung and plain old Instructors in the world. Not all have been great Instructors though. They may have been great talents, and could really work on the floor but could not get their point across. I have also seen mediocre practitioners who had some great information, great drills and could really get their point across. I have met some who teach the same thing over and over no matter the audience, and others who work hard to change it up so they are always offering a new side to their training. To me its about pertinent information. What I look for is someone who has something that appeals to me, and that can get their point across. I had the honor and privilege to attend a Seminar where there was a Jujutsu Sensei from Switzerland. He excused his accent and his English, for he felt we may not understand him. He was one of the best Jujutsu Instructors I have ever had the opportunity to train with. His language had nothing to do with the training. When you are as good as he was, you don't need to speak the language. The language is in your movement, and boy could he move! His name was Charlie Lenz, Hanhsi and was a remarkable Sensei. Not only did I learn alot from him, but also how to teach when there are people who may not understand the words, but he showed how to teach through action. Here is another big major set back at Seminars. Everyone loves to tell people what to do. I guess its a product of being corrected constantly by your Sensei that when given the chance to work with someone you may not know, you start correcting. I attended one Seminar where I was being corrected by Yellow Belts. This is a No No, train and shut up. Unless you are assisting the Sensei, keep your mouth closed, mind open and work on the SENSEI'S material.

     Sadly, there have been some Instructors who spoke the language, and could not teach or didn't care if they got their message across or not. To me this is the biggest loss in a Seminar, an Instructor who doesn't care. You can spot them. They are not prepared, don't address the rank of the students or the material that is being taught. I once saw a Sensei try to teach a kata/form, (a Kung Fu form, and we all know they are not short) in fifteen minutes. She felt whatever she got through would be a help. Maybe it would to a certain Kung Fu audience but an audience of mixed styles can find little to do with 25% of a kata/form. Not the best idea in that venue. So there are times that the material being covered is not pertinent. The Sensei who teaches the same thing at every Seminar that he attends can get old as well. The first time is good and hopefully people catch on, the next time maybe to refine the material, but the same material year after year Seminar after Seminar can get old. So what can be done to make Seminars useful and fun?

      To me format is everything. I do not like to have to stay in group and train with whoever comes to that group. Once again I am looking for pertinent information for me, so I like to go with someone who I feel can help me. On several occasions I have gone to a Seminar with many Instructors and followed one around all day. I didn't care if he was teaching beginners or Black belts I wanted to work with that Instructor. Also too many Instructors can be a hindrance as well. There may be more than 1 you want to learn from and they teach at the same time. I also like Instructors who tailor their information to the students they teach, or the rank they are teaching. Especially the ones who target the audience. This is number one with me, and something I try to do all the time. I once saw an Instructor teaching Pressure Points to a white belt group, while teaching the same thing to Black Belts. I also try to learn enough about most styles that I can relate something I do to something they do, which I hope helps them understand what I am trying to share. Professor Bill DeWert is a great example of this. He is a top Tae Kwon Do Instructor in the United States and head of several organizations. He was teaching a group of mainly Kenpo/Kempo Black belts and took from his vast knowledge of other Martial systems and taught a 'Buffet' of material to the Black Belts. To this day I use many of the techniques he showed me years ago. Ironically I learned alot of my Okinawan Bunkai (Application of kata/form) from him, yet he is mainly known for his Tae Kwon Do. He sure knew how to teach to the audience.

     So the success or the failure of a Seminar depends on the students attending the seminar and the Sensei's who teach. The students need to have an open mind, as I believe you can learn something from anyone, even if its what "not to do". The Instructors on the other hand need to be sensitive to the students needs, whether it be style, rank or interest. Not only should a Seminar be educational, but it should be pertinent and most of all FUN. I try to make my Seminars as enjoyable as possible, without sacrificing the knowledge. For me. a Chinese weapon seminar is of no interest, however if there is a Chin Na Instructor, I am there. So the student needs to understand they need to find what is pertinent to them, it will not necessarily just jump in your lap. Sensei need to try and target their audience, and find what the general level of knowledge is and what it is the group wants. A Sensei should be prepared but not so rigidly that they can't give the students what they can use or they want. So here are some Seminar tips for both students and Sensei to keep from getting the "Seminar Blues".

Students:

• Have an open mind, you can learn something from anyone

• Look for people who can give you what you are looking for. Just don't stand around and wait till something comes to you. Its called being Pro-Active and its something you should be doing in your training anyway.

• Take Notes, as you will never remember it when you get home after an all day Seminar

• Be appreciative of the Instructors time, thank them and ask questions that is the truly best way to learn.

Instructors:

• Keep it simple, target your audience and try to teach something applicable to the group you have.

• Make it fun

• Be prepared and keep it fresh. Students don't want the same thing over and over even if they don't do it as well as you would like.

• Be creative, try to get your point across in a way they will understand it in their own terms.

• Push the students to understand not just copy, it will make the seminar better, the onus is on the Instructor to make the students understand.

• Remember, in most cases these are not your students and these students may not be use to your teaching habits. Try to adapt to the students.

    Hopefully, Seminars can once again  boast good attendance and be worthwhile. Its going to take a combined effort for Instructors and students both to make Seminars once again worth their time and most important, enjoyable.

The author of this next article is Grandmaster Chuck Sullivan. Grandmaster Sullivan gave Yume Dojo permission to run these articles. Most will focus on the early days of Kenpo. Here is a little biography of Grandmaster Sullivan.

Chuck Sullivan began studying the art of Kenpo in 1959 with Mr. Edmund K. Parker, Sr., founder of the system known today as American Kenpo, and was the fifth person promoted to Black Belt by Mr. Parker. Mr. Sullivan has studied and taught the art of Kenpo exclusively for 45 years. Nearly all senior practitioners in Kenpo have studied with or been influenced by the teachings of Mr. Sullivan. The photo on the left shows Grandmaster Parker and Grandmaster Sullivan. Here is an early article written by Grandmaster Sullivan entitled Then and Now

THEN AND NOW

TRADITION VS. EVOLUTION

 The above photo is circa 1963-1964, taken at Ed Parker’s original West LA school.

¯THEN AND NOW¯

By Chuck Sullivan

“How do the Martial Artists of today compare to those of the early days?”

In a word, I think, “better”. That’s not to say we didn’t have some really rough, tough people in the fifties and sixties. We did!  There were some truly fearless and terrifying people running around back then.

Stories abound about them. Some true and some embellished beyond belief. For some of the incidents, I was there. Others, I heard about first hand and then heard the exaggerated versions as time went by.

There were some great Martial Artists in the first couple of generations but they were limited by the amount of research and development that had taken place up till that time. In the intervening years many, many people have worked relentlessly to further develop and improve upon what they themselves had been taught.

The Martial Arts did not miraculously descend from a mountaintop etched upon tablets. The arts were developed by people. Very dedicated people who have done a tremendous job. Today there are also very dedicated people doing equally as well. The difference is, the people of today have the advantage of the experience of their predecessors. With that experience, combined with modern innovative technology, advancements are being made all the time and there’s still plenty of room for improvement.

A lot of emphasis is placed upon tradition. Tradition certainly has its place in the Art, however when something can be proved wrong and then improved upon I think it is our duty as Martial Artists to make the improvement. If, after exhaustive analytical study you have found a weak spot or a downright error in the use of a principle, it is your obligation as a member of the Martial Arts Community to make the error and correction known to your associates and students. If it tramples tradition, so be it.

Be prepared though. There are those who will scoff at your thinking for no other reason than that it violates precious tradition.

Recently, while looking through some old snapshots, I came across a couple that were of particular interest when applied to this subject. I thought you might enjoy seeing them and finding out how some of the changes in the Art have come about.

These photos were taken at the same place on the same evening. You can see the students are the same group in the shot on page one as well as the photo on the next page.

What’s of special fascination to me about these two photos is the fact that there is a conspicuous error-taking place in each of them. Study them and see if you can pick them out. The only hint I’ll give you is, at the time these photos were taken, somewhere around 1963-64, the things I’m referring to as errors in the pictures were not considered mistakes at all, at that time.

Are you confused? Probably. Here’s the story.

In photo #2 (next page) I’m demonstrating the technique that came to be known as Thundering Hammers. You will recognize the Karate Connection’s version of it as Repeating Hammers, the third technique in brown belt.

In the Ed Parker version the first blow after the left inward block to the outside of your opponent’s right punch is your right forearm across his mid-section. When he bends over you deliver a hammer fist to the kidneys then one to the back of the neck. There are a variety of endings but that’s the base technique.

There’s only one problem with Thundering Hammers as I was taught it and was teaching it then. The human body does not bend at the mid-section, it bends at the hips. That little revelation came to me when a student of mine with very poor control slammed me across the mid-section and actually stood me up rather than bend me over. He couldn’t finish the technique as I had taught him because I wasn’t bent over as I was supposed to be. Naturally, that set me thinking and as I analyzed the blow and the anatomy, I realized it couldn’t possibly work.

What had been taking place was that we had been taught to bend over for our partner when he did Thundering Hammers so naturally it worked in practice, but it would never work in reality. The body just doesn’t respond that way. That’s a principle, not a concept.

So what’s the solution? You’re way ahead of me if you know Repeating Hammers. Naturally, you simply change the weapon and the target. If you want to bend a body over you just smash an inverted hammer fist up into his (or her) groin, and watch the action. They will bend, unless they drop. Even then they’ll drop, bent.

Look at the photograph. Even the angle of the arm across the body is wrong if you wanted to bend someone over. My partner is trying to accommodate me, but even he isn’t doing a very good job because I won’t let him. I’m actually holding him up with my right arm. And from here I’m supposed to deliver a downward hammer fist to the kidneys and then one to the back of the neck, which is gonna be pretty hard with him standing up almost straight.

I taught the technique that way for at least ten years before I discovered the error. As soon as I realized what had to be done in order to make it work I made the change and have been teaching it with an inverted hammer fist ever since. Unfortunately, there are those out there still teaching it the way I learned it. Tradition!

Now let’s take a look at the first “Old Photo” (on the front page.)

It’s funny how you remember certain things from the mostly forgotten past. I remember vividly that we took two shots of that kick. The first one actually clipped my partner’s chin. That’s why, on this photo he’s got his head so far back. The fact that the kick for the second photo is to the mid-section is because of making contact. I didn’t want to do it again so I lowered the kick and changed the target. But that’s not the error in the picture.

When I was taught to do a “knife edge kick”, I was specifically trained to curl my toes down and bend the ankle down as well. And that’s the way I did it until I sprained my ankle so badly I feel the effects of it to this day. When I think about it now I can’t believe I was stupid enough to blindly accept such a ridiculous concept in the first place. Curling the toes down and bending the ankle is equivalent to bending the wrist down when punching. What an absolutely idiotic thing to do, yet there I was doing it and what’s even worse, I was teaching it that way as well.

I may not be a quick study but I don’t have to sprain both ankles to learn. Once again, I analyzed what had happened and why, then did something about it.

Now, naturally, the toes are turned up and the kick is done more with the rear half of the foot, with a straight line from the knife edge up through the ankle for the greatest strength and rigidity. I’m still shaking my head at my own simple-minded, zealous compliance.

It’s things like this that have been culled out of the Art so as to give the student of today a clearer path to follow. Many of the ridiculous contradictions have been eliminated which helps prevent confusion.

Today’s student can get better easier and quicker than his counterpart of years gone by.

Perhaps someday, with your help, the Art will be perfected. But don’t hold your breath. Some things will never be changed because they’re TRADITIONAL.

"Stupid Is as Stupid Does"

           Forrest Gump

     Martial Artists as a whole are a strange group of people. Who else do you know that pays people money to beat them up? Training is a serious matter, however there are light hearted moments in everyone's training and its important not to take yourself too awfully seriously as something will usually blow up in your face. So this is going to take a bit of a light-hearted look at events that have happened in my years of training. I promise that all these events are true and I will not mention names to protect the guilty, but if the people I describe sound like you, well it probably is.

     Lets start at a school where I was a visiting Instructor. I taught a technique and was going around the room to make sure everyone understood what I showed. Over in the corner were two students in deep conversation. I went over to them to see if they needed help or if they didn't understand the technique. When I inquired if there was a problem or if they needed help the response was this........"We are discussing the technique". I thought they were joking right...wrong, they were dead serious. They said they found it more beneficial to discuss the technique than work it. Can anyone imagine telling this to their Sensei, "oh its ok Sensei, we are going to discuss this technique instead of practicing it". I don't know about other Sensei but mine would have discussed this technique over a bottle of shut your mouth and a can of kick your butt. I must say in all my years, this was the first and only time I have ever heard this. You got to give them points on originality.

     You have heard of people always forgetting something on their way to the dojo, or left something at home. I try really hard not leave anything, however it has happened to me as well. I have students leave their belt at home all the time. How does your belt and your Gi get in different places I'll never know. I have even had a student forget his pants but had his Gi and belt, so I had him go 'commando', shorts, Gi and belt. But the best story about forgetting something is the student who forget to come to his test. Not only was it a test but it was his Black Belt test. Now this student and I are very close and today he is a Sensei but he forgot to show up for his Black belt test. I asked him how he could forget his test, and his answer was "it just slipped my mind!" Well it slipped our Sensei's mind apparently because he made the student wait a whole year before he offered to test him again. When I asked Sensei about the students test he just laughed and said "nobody showed up, what can you do?" Nothing but laugh I guess.

     This is another crazy moment. I was teaching at a seminar and was showing a technique, and then had all the students go to work. I believe they were yellow or green belts not real sure. There was this little gal just standing there watching. I went over and asked if she needed a partner, and here was the answer " No Sir, my Instructor won't let me do the technique" I asked "Why?" She said that before she left and came to the seminar he told her "Don't do anything I wouldn't do" I laughed and told the young lady I thought her Instructor was having some fun with her and she told he wasn't. That he really didn't let his students do any techniques that he didn't approve of. I wasn't sure who to laugh at, the young lady who came and wouldn't do anything or the Instructor who gave the orders.

     Seminars can be a great place for humor and stupidity which ever comes first. One year I was teaching at a seminar and had my son with me as uke. My son started training at age 4, so by age 12 he had more years in than many adults. He continues to train today and is a very accomplished technician. At one particular seminar he was standing talking to me and a student came over to him and asked if had a partner. Since the student obviously wanted someone to work with he said yes. I am guessing he was about 17-18 years old, and I am guessing about a 2nd degree Black belt (Nidan) As he worked with the student he let him work on his technique and offered little resistance because the student was a lower ranking kyu. Because my son was going easy, the student who was in his late 20's thought my son was too soft to be a Black belt. He tells my son " I am going to resist you and make you work your technique, I am going to test you!!" I started to go to the student and give him a severe "who do you think you are lecture". My son waved me off. I showed a technique and my son bounced this student around like you would not believe. Bada Bing Bada Boom and the student was looking up. I have seen basketballs not get bounced like this student. My son helped him up, and then another Bada Bing Bada Boom and the student was airborne. My son went up to the student and wanted to know if he passed. The student who could barely get up said " I don't think I want to try that again!!" Mrs. Gump must have had this person in mind when she told Forrest "Stupid is as Stupid Does". Can you image back in the early days in Hawaii, a student telling Professor William Chow "I am going to test you?". I imagine he would wipe the Kukai off his slippers (sandals) with the person who said it. Not real smart. There are more seminar stories but here is a dojo story on me.

     I was with a Sensei who I could do nothing right with. No matter what I did, he always corrected everything. I couldn't walk in the dojo without doing something wrong. You name it, especially kata, there was nothing I did right. If I got on the floor to do kata it was a mistake. One time I told him to yell at me all before class so I could go through just one without being wrong. One weekend Sensei had a Car Wash to raise some money for weapons and such. I suggested he charge me for my mistakes and he could make more. The only problem was Sensei had to work half a day so I was in charge of the Car Wash. I had the hose and I was in charge of that. Someone joked that the person with the hose was in charge. My response was "its the only thing I can do right!!!........and that Sensei would find something wrong with the way I did this too". Not 10 minutes later here comes Sensei and before he gets out of the car good, tells me to give him the hose, that I was rinsing all wrong, who would have guessed right? So I guess they were right, the person with the hose is in charge and I need to go back to Hose Basics.

     Back to the seminar stories, there are quite a few. My favorite took place at a seminar in California. We were training on the beach and apparently the way I was punching bothered this particular lady. She came over to me and gave me a lecture about my punches, how they were very "loopy" and not the way you have to punch. She also said as a Black Belt I should know better. I informed her that what I was doing was called a Hook. She then said " I don't care what you want to call it, its not a real punch and you don't know how to punch!" Someone ought to tell Ricky Hatton or Floyd Mayweather this before their next fight in December. It may do them some good to hear that there is no such thing as a Hook and maybe stay away from them. Miguel Cotto better quit using them to the body as well, as he must have gotten lucky landing so many in his last fight. I wonder why it is that people love to correct at Seminars. I guess maybe they get told what to do so much that they want to tell someone what to do for a change.

     This was really funny, however my daughter didn't find it as amusing as we did. We had gone to Idaho for a Seminar with a top Aikido Sensei. Sadly he is no longer with us. We belonged to a different organization, however were not happy. We had this chance to go and train with this well known Sensei. My son at the time was probably about 10 or 11 my daughter 8 to 9 years old when we made the trip. My daughter had decided she wanted a 'boys cut' hairdo and had cut here hair real short. The Sensei was a funny, soft spoken and very good. He decided to adopt my family and we would be under him. He was teaching break falls his way, as we did them a bit different. He looked at my daughter and told her to arch her back, like you do when you stand up and go to the bathroom. My daughter looked at him with a very confused look. The Sensei then acted like he was peeing to give the idea of how to land. Still my daughter looked at him with a confused look. The Sensei then went over to my wife and said "She no boy ?" My wife nodded and died laughing. Here was this Japanese Sensei trying to teach an 8 year old girl how to pee standing up. I will tell you my ribs hurt more from laughing than from anything else. That trip will never be forgotten by any of us.

     Finally, here is the #1 case of stupidity that I have had the honor to see. Again this took place at a small seminar actually a clinic, where the Sensei had come to town and refine some of the techniques he wanted us to have. He felt it best to just train in basic workout clothes, not in Gi top or belts, so no one knew the rank of anyone else, unless they were from your school. We had been with this Sensei for awhile and he had given us something's to work on. Out from the spectators, comes an anxious student to correct what my daughter and I were doing. Its one thing to be corrected on the floor by a lower rank but out of the cheap seats is another matter. If I take the effort to try and work on material on the floor, I don't want someone who doesn't have the drive to be active to correct me. I was going to have this student for lunch. Lucky for him, the Sensei saw what was about to happen and cut him off and told the student we knew what we were doing. Even to the Sensei he kept saying, "they are doing it all wrong" The Sensei replied we had permission to do it wrong! The young man who was going to correct me was just a spectator, a yellow belt spectator and not even in the same art. This may be the dumbest type of student, one who feels the need to correct everyone.

To finish, I encourage everyone to get the most out of themselves, self-improvement and leave the training of others to the Sensei. Mind your own business, focus on your training, because, trust me, you will make enough mistakes on your own, instead of worrying about others. And above all, don't take yourself so seriously!!!

Strength Training for Martial Arts

     For this article I would like to discuss the aspect of core strength as it pertains to the Martial Arts training and application.  I believe that a strong "core" is a necessity that every martial artist must possess.  In this article we will discuss why these muscles are important in martial training and also which exercise will enhance the development of these areas.  We will begin by taking a closer look at the "CORE".

     The "core" is a very popular term in the fitness and sports community.  Everybody wants to work on their core, however very few know what exactly the core is or why it is so important.  Your core is your center of mass, where all your power is generated, physiologically speaking.  It includes your abdominals, hips, obliques, and low back.  Many people believe that having a strong core means that you have a "six-pack".  This is not necessarily true.  A strong core means that you possess strength in the abs, hips and low back.  Remember, defined musculature has no bearing on strength.

The next question is why is the core important in the martial arts?  The answer is very simple: ROTATION.  In almost every martial art there are movements that employ rotation.  Every time you punch you must rotate the hips.  In Judo, many throws include extreme core rotation.  We will examine the role of rotation as it pertains specifically to martial movement.  Whenever you strike, if done properly, is executed with whole body mass and not just the striking limb.  A strike that is applied with just the arm will not be as powerful as a strike applied with the whole body.  This power comes from rotation and the body's core. Another example of rotation and core strength in the martial arts is in throwing techniques.  You always hear about practitioners who "throw their backs out", while attempting a hip throw (koshi nage).  This is due to a weak core and in particular a weak low back.  During the rotational part of the throw the practitioners low back is not strong enough to support the movement, hence the injury.  Let us now look at some exercises that will help to improve the strength of your core.

When discussing how to strengthen a martial artists core there is a bit of irony that needs to be mentioned.  Many professional athletes use martial movements in their own training because they feel it aids in core development.  As an example, many athletes will employ punching exercises in their routines because punching involves the same rotational component as say a baseball, golf or hockey swing.  Punching will help strengthen the core and simulate the speed of these movements.  So the question is, if athletes are using martial movement to strengthen their core, what should a martial artist do to strengthen theirs?  I believe that medicine ball training is one of the best ways that this can be accomplished.  Exercises such as Russian twists, med-ball throws, and med-ball passes are great exercises for strengthening as well as mimicking the speed at which martial movement occurs.  Different types of abdominal exercises such as crunches, bicycles, medicine ball drops and stability holds will all help in developing a well-rounded core.  Finally, exercises that we like to call supermen, and scorpions will aid in developing the low back muscles, which we now know to be integral in having a strong core.

I hope that after reading this article everyone will have a better appreciation of what the core part of your body really is and how much of your training relies on having this as a strong base.  In our next article we will discuss the importance of grip strength.

 Shihan Lou Klaff is the senior Black Belt at Yume Dojo. He also has Black Belts in Okinawan Karate and several styles of Jujutsu. Shihan Lou and Shihan Scotty Klaff opened Yume Dojo over 15 years ago and have been teaching at the dojo ever since. Shihan Klaff's Okinawan Karate Sensei, Soke John Simmons, spent several years teaching Shihan Klaff about the Bunkai or application of Kata. Shihan has continued this work and has studied and researched some in depth looks into kata/forms and the process of learning kata and how to study Bunkai (Application) of kata. This article will look at the culmination of some of these teachings.

Techniques as a Reference

Shihan Lou Klaff

      This article will not be very long, rather just long enough to upset many people. The purpose of this is to shed some light on techniques from a different perspective. One of the problems in training is people have a tendency to view technique as gospel, and only have 1 or 2 accepted  ways to apply the technique. I have seen this on more than one occasion, students arguing over how the technique should be done the 'right way', or the way it was 'written down'. One reason for this is that its easier to learn set techniques, and easier to teach. Its like tracing something versus drawing something. Set techniques are needed for beginner students, however, they are not written in stone. Rather, the technique should be used as a reference. All parts of the technique can be interchanged, so nothing has to be set. Just look at different ways people train. Someone with a Judo background will do a sweep a bit differently than a Karateka will do it. So is there only one application of this technique? Of course the answer is no. If there are differences between styles, there are also differences among them. My Sensei use to say "ones background, experience and prejudices will dictate how a technique is done". Once again, the technique should be used as a reference point.

     This can be seen in Grandmasters Ed Parkers art of American Kenpo. Look at any one technique and you will find 9-10 different interpretations of the technique. This may have come from the fact that in the early days there was an effort made to standardize techniques so that each school in the Organization had basically the same curriculum and same techniques. Thus, techniques started to be done the 'way it was written' versus using the technique as a guide. In the early days of Kempo, techniques consisted of 2-3 movements, and then Add Ons or Ad Libs were done. This was the early way in Hawaii. There was a basic move and then the student got to see what he saw, and adapt to the situation, not memorize a technique. This makes a student think, and react, not just memorize, and this is more difficult to teach and learn. So things became set in order to make it easier to teach and learn. My Sensei did something similar as he added numbers to each technique, to make it easier to remember. He never had to do this, when he was a student under his Sensei he just kept going and going until Sensei said stop. If Sensei didn't say stop and you ran out of techniques, you started to make them up. I believe we are not as good of students as my Sensei was. We need structure, names, numbers in order to learn. However once we do this, we define the movements, then next thing they become set. If you don't define, just react, technique will flow from reaction and creativity. This is much harder to learn, which is why I am guessing set technique became popular.

      So how do you use technique as a reference or a guide ?  The answer to this is really simple. If you treat the technique as a sum of its components, then you see each movement in the technique as a technique. Also, just about every movement will have its own inter-changeable piece. As an example a short punch/upper cut can replace an upward elbow and will not compromise the flow or the technique. Actually when you start looking at technique this way one can see how to use both an uppercut and the elbow. In Shizenryu, we call this doubling or tripling up. The way this works is an uppercut will be done to the Psolar Plexus and continued up to the chin where an elbow is done. This is a very natural movement which is why we use this concept in Shizenryu. Not only can something be inter-changed, but adapted as well. Each piece within a technique can be adapted or changed like this. So now one technique can be dissected, adapted and changed to create several techniques all based off of one technique. This way the student learns to adapt, and react, not memorize. This is how the technique becomes a guide or pattern to work from.

      If you look at kata (forms), then application of the movement (Bunkai), it is the same process. Each movement is looked at to see its different uses. So nothing is set in kata, as there should be nothing set in technique. Every technique should be viewed as a reference manual to see what a technique can teach you. Not to use it as something written in stone.