Instructor of the Year

Inside Kung-Fu Magazine

February 2009 Vol. 37


Instructor of the Year

By Dave Cater


It took Joseph Simonet nearly 25 years to become an overnight sensation. Simonet, a contributing editor of Inside Kung-Fu for the past two years, has taken the martial arts world by storm with a teaching concept both unique and traditional. One-half (along with 2008 “Woman of the Year” Addy Hernandez) of the juggernaut martial arts system known as KI Fighting Concepts, Simonet has taken the best ideas of his predecessors and synthesized it into a magical collection of training, conditioning, technical and application skills that can benefit anyone of any discipline.


“What good is a martial arts technique if you can’t use it?” ask Simonet, whose Unique Publications books and DVDs are among the company’s best-sellers. “For an application to be beneficial, it has to be easy enough to learn and even easier to apply,” adds Simonet.

Now don’t think for one minute that Joseph has borrowed from his martial arts brethren. Far from it. Long before the world knew who he was or what he could deliver, Simonet was training with some of the most-respected minds and most-admired technicians in the martial arts world.

Like any trailblazer, however, Simonet was not content to stand on ceremony. In other words, he was not afraid to tinker with perfection. What may have worked in the 1500s was due for some modernization; the street fighting techniques practiced 40 years ago needed a facelift to tackle the dangers of today.

Through seminars around the world-from China to New York and hundreds of stops in between-Simonet is spreading the gospel of his exciting new discovery. KI Fighting Concepts is a living, breathing 21st- Century approach to training that fits around the practitioner like a new pair of jeans. The more you wear it, the more it stretches to fit your style. It takes a martial artist of vision to create something so revolutionary. It only took the rest of the world 25 years to take notice.

Simonet, Hernandez Make Up DVD Debut in Blade Style!

Inside Kung-Fu
“Simonet, Hernandez Make Up DVD Debut in Blade Style!”
Dave Cater
February 2008
Pg 22-23

Inside Kung-Fu columnists Joseph Simonet and Addy Hernandez make their Unique Publications DVD debuts in stunningly deadly fashion with three offerings sure to improve your skill with the blade.
Hernandez’ first-ever DVD, called “A Cut Above,” show-cases her amazing speed and power with the knife. Simonet, one of the world’s foremost authorities on bladework, produces what many are calling his finest and most-advanced work to date: “Down and Dirty Streetfighting: Vol. 1 – Take-down Counters; and Vol. 2 – From Empty Hand to Blade.” All techniques and drills are derived from essential elements of the “KI Fighting Concepts” knifefighting system created by Simonet and Hernandez.
Each DVD retails for $29.95 each and can be purchased at www.up-publications.com or (866) 834-1249.


A CUT ABOVE
In “A Cut Above,” Hernandez displays a combination of elegance and grace with brutal finality with a blade. In step-by-step, easy-to-follow instruction, she begins by demonstrating one simple defensive blade technique for any attack. Hernandez teaches you how to combine superior footwork with hand and body positioning to immediately disable an attacker upon contact, and keep him at bay.
She then guides you through her no-nonsense brutal and deadly offensive knife skills. She demonstrates and teaches a variety of rarely seen techniques that will take any attack to its finality.
Hernandez changes directions and guides you through a step-by-step knife juru and/or knife manipulation drill. Finally, she’ll finish with a flow drill that will enhance your dexterity with a blade.

JOSEPH SIMONET’S DOWN AND DIRTY STREETFIGHTING—VOL. 1

TAKEDOWN COUNTERS
World-renowned author Joseph Simonet unveils his explosive insight on superior fighting attributes. See what thousands of martial artists worldwide have already experienced. Simonet’s dynamic attitude and hard-core streetfighting skills have elevated the martial arts combat field.
He begins by showing commonly known drills and techniques derived from wing chun, the Filipino arts and silat, then transforms them for a more hardcore street self-defense application. These techniques follow his formula of C.A.P.A. (Conceptual Analysis and Practical Application). Simonet then demonstrates never-before-seen techniques to stop any “takedown” in its tracks.
Finally, Simonet reveals the pentjak silat footwork and key aspects that have been shrouded in secrecy and politics for decades. Simonet describes in keen detail the 30-degree angle footwork that will completely transform the way you look at the own footwork in your combat art.

JOSEPH SIMONET’S DOWN AND DIRTY STREETFIGHTING—VOL. 2
FROM EMPTY HAND TO BLADE
Joseph Simonet continues his theme with explosive superior fighting attributes. First Simonet explores the “seamless transitional integration” between empty hand to blade. Simonet will show you in step-by-step fashion how explosive attacks can be translated into deadly knife techniques utilizing his “concussive aggression.”
Simonet guides you through detailed instruction on “closing the gap” between you and your attacker with superior footwork and trapping drill. Simonet then describes in detail a new fighting range he calls “body sticking” by showing you aspects of two-person full-contact stand-up drills, derived from his highly acclaimed system, “The Art and Science of Mook Jong – Slam Set.” Simonet teaches essential fight-stopping elements so you can reflexively respond with effectiveness in any defensive situation.

Taking Chi Sau to the Street Part 2

Inside Kung-Fu
“Taking Chi Sau to the Street Part 2”
By Joseph Simonet
November 2003
Pg. 108-

One of the most critical elements of understanding and appreciating chi sau is defining the line between chi sau as a training tool and its role in developing real fighting skill. Practiced properly, it is a powerful method of developing close-range fighting reflexes based on touch rather than visual acuity. Practiced improperly, however, it can ingrain habits that are not only counterproductive to your training as a fighter, but can get you killed.

In part one of this article, I described several different exercises that could be used both as a precursor to chi sau training and as supplemental training to develop the structure and musculature necessary to perform chi sau well. As useful as these exercises may be, they are not chi say. As such, they are not and end unto themselves but rather a means to an end. Similarly, we must remember that chi sau is not fighting, but simply a means to achieving that end. Like any drill, the goal is not the drill itself, but the isolation and development of the skills the drill promotes.
To help you get the most out of your chi sau training, part two of this article will identify some of the weaknesses of chi sau as it is commonly practiced and teach you how to improve your practice and appreciation of chi sau by maintaining your focus on the real goal: combat skill.

Lack of Power
Perhaps the greatest problem with chi sau as it is taught and practiced today is that it has been reduced to a form of point sparring. Practitioners who take this approach typically assume laid-back, defensive stances that offer no real base for power generation. With this style of practice, a touch-any touch-is considered a hit. Even worse, many times once a “hit” is acknowledged by both partners, the action stops and they start the drill fresh.
Point sparring has been criticized for decades as an artificial, unrealistic form of training that is far removed from the reality of a full-contact fight. Practicing chi sau with the same mindset-that of a sophisticated game of “tag”-is just as far removed from the reality of a fight and just as counterproductive as training method.
Hits win fights, so good chi sau training must teach you how to hit. Don’t be content with touching to win; learn to

Total Domination Pt. 2 Joseph Simonet

Inside Kung-Fu
“Total Domination part 2”
Interview by Michael Janich
July 2005
Pg 62-66, 108, 111

The attitude behind Jospeh Simonet’s KI Fighting Concepts system is simple: One move and you’re done.

In last month’s Inside Kung-Fu, Joseph Simonet explained the 30-year background behind his impressive martial arts resume and the genesis of his eclectic KI Fighting Concepts curriculum. In part 2 of his interview, this outspoken martial artist explains his personal fighting philosophy, the role of wooden dummy training in the quest for personal martial excellence, and his plans for the future.

INSIDE KUNG-FU: What are the key components of the KI Fighting Concepts philosophy and curriculum?
JOSEPH SIMONET: Every aspect of my personal study of the arts was a quest to fill in the gaps in both my own knowledge and skills and the curriculum that I offer to my students. After devoting myself to a variety of different arts, I stepped back and began to cherry pick the elements that were most valuable. Again, the goal was to synthesize the various elements at the foundational level, not to arbitrarily lump things together.
In its current form, the key elements of the system include proper structure and alignment, as derived from my interpretation of wing cun and silat; sensitivity and spontaneity, adapted from the Filipino arts, taijiquan, and wing chun; and an attitude of “wherever you’re standing, you’re stand in my spot,” which is a reflection of both my personality and some elements of Indonesian silat.
IKF: Wherever you’re standing, you’re standing in my spot. What does that mean?
JS: It means having the attitude and commitment to totally dominate your opponent. Most martial arts separate fighting into four ranges: kicking, punching, trapping, and grappling. We believe in only one range: trampling range. That’s the range between my initial impact with your body and your impact with the ground. At that point, I’m standing in your spot.
IKF: Certainly somebody of your size and strength could pull that off. But is that a sound foundation of an entire system?
JS: The system works because it is based on proper anatomical structure and a committed attitude. My partner and assistant instructor, Addy Hernandez, weighs half as much as I do and is about one-third as strong, but she can easily knock most men my size on their butts. If the system works for her, it will work for anyone.
IKF: What is Addy’s martial arts background?
JS: In addition to being the first person to earn a black belt in the KI Fighting Concepts curriculum, she has also earned black belts in kenpo, doce pares eskrima, and eskrido, and has instructor’s certification in taijiquan and yoga. She has also kickboxed competitively in the ring.
IKF: If KI Fighting Concepts is a superior system, why did she train in the traditional arts as well?
JS: To teach the full KI Fighting Concepts curriculum effectively-especially to people already trained in other styles-it was important for her to experience some of the traditional arts in their pure forms. That gives her the frame of reference to relate to the other arts, to understand the lineage of our core concepts, and, most importantly, to have a full appreciation of what we do and why. As my assistant and protégé, she needed the additional background. For anyone else just interested in developing fighting skills, the KI Fighting Concepts curriculum is all you need.
IKF: How would you describe your typical student?
JS: Most of our students, both at our school in Wenatchee, Wash., in our affiliate schools in New York, and in our distance learning programs, are experienced martial artists over 30 years old who are frustrated with the traditional arts and really want to learn how to fight. They’ve been around the block, are tired of the hype and want something real.
IKF: Why do they come to you?
JS: In most cases, they got a taste of my approach through my book or one of my videos and like what they saw. They were looking for both a system that made sense and a mentor with the courage to lead, so they came to me.
IKF: You’re a pretty tough and opinionated instructor. Why do they stay?
JS: It’s interesting that usually whatever brings a student to us is never what keeps him here. Our students always grow in ways they never anticipated. Many of them came looking for a physical challenge and never expected the mental and emotional growth they experienced. Others came to me to give them confidence and they ended up finding it themselves through the physical aspects of what we do. It’s just further proof that the martial arts is a personal journey, not a production line to create people who all move and fight the same way.
IKF: Wooden dummy training is usually associated with the practice of specific Chinese systems like wing chun or choy lay fut. Why is this traditional training method such an important part of your eclectic art?
JS: The wooden dummy allows me to practice proper form and structure with full power and resistance. Unlike a heavy bag, it also provides the anatomical tools to practice full-power blocks, traps and other techniques with great realism. Best of all, it’s the only training partner I’ve ever had that never whines and is never tired, sick, bored or injured.
IKF: The core of your wooden dummy training is a form you developed called the “Slam Set.” Why would an eclectic martial art need a form? Are you just replacing someone else’s tradition with your own?
JS: The Slam Set represents all the essential elements I’ve learned in 33 years of training condensed into a 60-second form. If you’ve been around the arts for a while, when you first see it, you’ll see what look like elements of kenpo, eskrima, silat, muay Thai, whing chun and other arts. But when you analyze the form and start extracting applications from it, you realize that what looked like kenpo was not only kenpo, it was also an element of eskrima, and expression of taijiquan, and a fundamental concept of silat. Ultimately, it becomes a window to understanding the common ground of all martial arts.
I developed the Slam Set as a vehicle to train all the core principles of the arts I’ve studied and to provide a set of essential fighting skills in one form. I did it on the wooden dummy so that all the movements would have to be done with contact and intensity and would not degenerate into a meaningless dance. In the process of developing the set, I subconsciously included a number of elements that I knew needed to be there, but at first even I wasn’t completely sure why. As I practiced and analyzed the form and its possible applications, I realized that it truly includes all the movements and skills essential to a real righting system. Even now, years later, I will see a technique or application from another art that I really like and I re-evaluate my curriculum to make sure I haven’t missed anything. In most cases, I end up discovering those movements somewhere in the Slam Set.
IKF: It still seems like practicing a rote form is inconsistent with the spontaneity and “formlessness” you claimed to achieve with KI Fighting Concepts. Aren’t they opposites?
JS: Forms, like oral traditions, are a convenient and effective way of passing on a large body of knowledge, because they allow you to remember things in a sequence. You just need to understand that it’s the knowledge that’s important, not the sequence.
Any movement or series of movements in the Slam Set can be practiced individually as a drill, in any combination, and in any order. With proper visualization and intensity, they can also represent thousands of different applications. For example, what looks like a wing chun bong sao/lop sau/backfist combination to you might be a figure-four armlock to me. The movements are the same, but the intent-and therefore the application-are very different.
By mastering the physical movements of the Slam Set and then creatively expressing them in as many different ways as possible, you don’t do techniques; you make techniques.
IKF: What is the Art and Science of Mook Jong (ASMJ)?
JS: Once I realized that the Slam Set is, in fact, a distillation of all the essential elements of KI Fighting Concepts, it made sense to use it as a primary tool to teach the system to others. In the ASMJ program, students begin by learning the Slam Set form and the most obvious, literal translations of the movements as applications. Once they are competent of the movements. That’s the science.
Then, based on their understanding of the applications, they start analyzing the form and discovering their own combative expressions of the movements. They start seeing applications in the transitional movements of the form-between the “techniques”-and tap into the full potential of their skills. That’s the art.
IKF: How does someone get involved in your curriculum?
JS: We recently established a worldwide federation to provide an infrastructure to share our art. We also host an annual training camp at our facility in Chelan, Wash., which features more than 40 wooden dummies, and teach seminars all over the country. The resources are already there. You just need an open mind and the guts to train hard.
IKF: What are your goals for KI Fighting Concepts and for you as a martial artist and instructor?
JS: I want to build a professional organization of like-minded people who are interested in continuing the development of the effective fighting arts. I want to find worthy instructors who are interested in sharing this information with motivated students. Most of all, I want to leave more than I take.
It’s not about me taking credit for what I’ve done; it’s about enabling others to continue to build upon it without having to do it all over. They shouldn’t have to repeat history. I know that there are plenty of people who have changed their approach to the arts after seeing what I do without ever giving me credit. That’s fine. As long as the evolution continues, I’ve done my part.
IKF: That sounds amazingly humble compared to some of the other things you’ve said in this interview.
JS: Humility is about balancing what you can do with what you say you can do. It’s not about selling yourself short to try to impress someone. When you get right down to it, most of today’s martial arts legends has-beens surrounded by wannabes. I’m here now and I’ve got a lot to offer. People who really want to learn appreciate that and are lining up to train with me. That’s it.
IKF: Nevertheless, I’m sure you know that you’ll probably ruffle a few feathers when this interview is printed. Any final words for your critics?
JS: Sure. I don’t accept challenges; but I do respond to attacks.

Michael Janich is a freelance writer, author and instructor in Longmont, Colorado. He also is a founder of the Martial Blade Concepts system of edged-weapon defense and director of product development for the Masters of Defense knife company. He can be reached at www.martialbladecomcepts.com

The KI to Fighting Supremacy Part 1

Inside Kung-Fu
“The KI to Fighting Supremacy Part 1”
Interview by Michael Janich
June 2005
Pg 34-39, 95

Joseph Simonet has taken 30 years of conceptual study and turned it into one revolutionary martial arts system.

For years, Joseph Simonet has been one of the best-kept secrets in the American martial arts community. An exceptionally talented practitioner and instructor with high-level ranking in numerous Chinese, Indonesian, and Filipino martial arts, he is best known for his ability to cross-reference and synthesize the common elements of individual arts into universal concepts and physical principles that transcend style.

KI
This universal body of knowledge forms the foundation of his revolutionary KI Fighting Concepts curriculum and its wooden dummy-based, state-of-the-art training methodology, the Art and Science of Mook Jong. In this two-part interview, Simonet explains the method behind his uniquely visionary madness.

INSIDE KUNG-FU: When did you begin your training in martial arts?
JOSEPH SIMONET: I started training in 1972 in Japanese karate. At that time, I as already a competitive power lifter and was looking for other ways to challenge myself physically.
IKF: When did you get involved in kenpo?
JS: I switched to kenpo in 1973 and met Al Tracy in 1975. Although I have studied many different arts since then, I am still associated with Al Tracy and Tracy’s kenpo and am probably the highest-ranked practitioner of that system no teaching that art exclusively.
IKF: What ranks do you hold and in what arts?
JS: I am currently an eighth-degree black belt in Tracy’s kenpo; a fourth-degree in doce pares under Christopher Petrilli; a second degree in eskrido under Cacoy Cañete; a second degree in pentjak silat tongkat serak; and a black-sash level in wing chun gung-fu. I also have an instructor’s certification in Yan style taiji.
IKF: What do you mean “black-sash level” in wing chun?
JS: I’ve trained in both classical wing chun and its non-classical variants for over two decades and had the opportunity to study with some of the best wing chun instructors in the country. I learned the classical wooden dummy set from the great Wang Kiu and ultimately mastered all the skills of the system on my own terms.
IKF: But you never received a formal rank?
JS: I trained with people who had their black sash and could do everything that they could-usually better. That taught me that individual accomplishment is always more important than formal rank or certification. If anyone doubts my skills in wing chun, they are welcome to stop by anytime and “stick” with me.
IKF: What was the significance of each of the arts you studied and how did they give you the tools to develop as a martial artist?
JS: I consider kenpo to be the most complete encyclopedia of physical motion in the martial arts. If you want to catalog a movement, you can find it in kenpo. The Filipino arts taught me the importance of flow and the fact that spontaneous application is more important than rote technique. Through wing chun I developed an in-depth understanding of physical structure and the advantages of skeletal alignment over muscular strength. Silat taught me forward enerfy, taking an opponent’s space, and the secrets of body leverage and angles in throwing. And from taijiquan I learned the power of fluidity and relaxed movement.
IKF: Which arts were the most revolutionary to your development as a martial artist?
JS: At the time, every one of them was revolutionary to me, because I immersed myself completely in that art while I was studying it. I wanted to make sure that I understood the totality of the art in its pure form first. Then, I stepped back and looked at the art with a critical eye to draw the best elements and concepts from it.
IKF: Which arts were least beneficial?
JS: I have learned something from every art I’ve studied-even if it was what not to do. Once you discover that, you reverse-engineer your training to focus on the stuff that does work.
IKF: What is KI Fighting Concepts?
JS: The KI in KI Fighting Concepts stands for “karate innovations.” I founded it in 1979 as a hybrid system designed to fill in some of the blanks that I found in kenpo, but it’s grown far beyond that. The way I see it, every martial art presents a specific model. Although every model works fairly well at a basic level, the more I challenged them, the more their limitations became apparent and the models broke down. To fix them, you have to look outside the model and draw from something else.
Over time, what began as a hybrid system of kenpo has become and eclectic blend of pre-eminent martial arts systems, unified at the conceptual level. The development of KI Fighting Concepts has also paralleled my personal development in the arts, filling in the blanks in the totality of my own training, knowledge, understanding, and training methodology.
IKF: So KI Fighting Concepts follows the model of “absorbing what is useful?”
JS: Absorbing what is useful is a nice start, but more important that that is extracting what is essential. A “useful” skill set that doesn’t include the really critical skills that you need to fight well is a guaranteed way of getting your butt kicked. It’s like having a survival kit full of “useful” items that doesn’t include matches or some other way of making a fire. Without that essential element, you die.
IKF: There are a lot of styles and systems out there that claim to have extracted the best of all the arts. How is KI Fighting Concepts different?
JS: Most people who claim to have created eclectic systems have done nothing to integrate their arts at a fundamental level. If you duct tape a wrench and a screwdriver together, you haven’t invented anything. By the same token, duct taping a bunch of tae kwon do techniques onto jiu-jitsu ground skills doesn’t produce an integrated fighting art.
The “concept” in KI Fighting Concepts reflects the fact that it is a synthesis based on total integration of the component parts, not just a buffet line of different martial arts techniques. So many styles are actually defined by the minute difference that set them apart instead of the 99 percent of the content that makes them similar. That’s ridiculous.
By understanding the core concepts and mechanics that are common to all systems, you can achieve total integration at the foundation of the art and flow to any technique you choose. This approach also helps you appreciate various styles for what they contribute to the whole, rather than blowing them off because “their stance are wider than our stances.”
IKF: You’ve got some pretty impressive martial arts credentials, but what qualifies you to create your own martial art?
JS: After 30 years of training, six black belts, and years of seeking the truth from other people, I decided that I was qualified. Who told Yim Wing Chun, Mas Oyama, Morehei Uyeshiba or any other founder of a martial art that they were qualified? Nobody. Because of all the tradition and ritual that surrounds the martial arts we forget that men developed all arts. In most cases, they were developed to overcome the shortcomings of the systems they already had, which were also developed by men. Well, the same thing applies today.
It amazes me that when it comes to every other field of human endeavor-science, medicine, technology, education-we constantly strive for progress. But when it comes to martial arts, most people are convinced that someone else figured it all out and created the ultimate fighting art hundreds of years ago. I don’t think so.
If I have the knowledge, the skills, and the insight to create a superior system, I’m not going to hold back because it’s not traditional. The telegraph was a great invention, but I don’t see anyone trading in his cell phones for one.
IKF: So you no longer see much value in the traditional martial arts?
JS: All living things are evolving, dormant, or dying. When viewed in this way, most traditional arts are at best either dormant or dying. As cultural experience, as a form of fitness, or as an off-the-shelf basic self-defense, they’re fine. But as a state-of-the-art fighting system, no art that values tradition above function is worth betting your life on.
IKF: What about the instructors who claim to have adapted their traditional arts to the needs of modern self-defense?
JS: If they’re still restricted by the limitations of their tradition, they’re going to come up short. Training in traditional martial arts is like restoring an old car. You bust your butt for years to get everything to look exactly like the original. But when you’re done, you’ve still only got a 1973 Pinto. Granted, it’s a beautiful, historically accurate Pinto, but it’s still a Pinto.
IKF: Do you consider yourself in the same league as people like Mas Oyama, Ed Parker or the founders of other well known systems?
JS: That’s not for me to judge, but that’s certainly my goal. They were great men and great martial artists because they started with the martial tradition that they learned and continued to analyze, innovate, and build upon it. That tradition-a legacy of innovation and progress-is what I really value.
If you think about it, the biggest difference between me and the founders of other arts is that I’m still alive. As strange as it may sound, in the traditional arts, being dead is a great qualification. Your followers will spend years interpreting and re-interpreting everything you said or wrote like your grocery list somehow holds the key to martial enlightenment. I’m here to answer questions and provide guidance to my students now. I’m also continuing to grow and learn along with them.
IKF: What has been your most satisfying experience or accomplishment in the martial arts?
JS: Realizing that I was in control of my own destiny and didn’t need validation from anyone else.
IKF: What has been the most frustrating?
JS: Waiting so long to realize it.
(In part two, Simonet explains his fighting philosophy, the role of wooden dummy training in the quest for personal martial excellence, and his plans for the future.)

Addy Hernandez Women of the Year

Inside Kung-Fu
“Legacy of Their Own”
By Dave Cater
February 2008
Pg. 26-31

THE LATEST CLASS OF IKF HALL OF FAME HONOREES HAS CARVED THEIR OWN MARTIAL ARTS NICHE.

No year in recent martial arts history has robbed us of so many great names. From Lily to Larry, David to Daniel, Madame Yu to Bong Soo, they dropped like fallen warriors so quickly we barely had time to mourn one before the next was taken from us. One moment we were talking to them, and the next minute we were talking about them.
And these weren’t your garden-variety marital artists, either; rather, they were legends in their own time – masters and sifu and sensei that spent lifetimes accomplishing great things and creating a better world through martial arts.
If there’s any consolation, it’s the realization that this year’s group of Inside Kung-Fu Hall of Fame recipients is just as noteworthy for their martial arts accomplishments, “Man of the Year” Dr. Yang, Jwing-Ming and “Woman of the Year” Addy Hernandez have been industry leaders for years, while “Instructor of the Year” Adriano Emperado remains one of the most-respected teachers of his generation.
In 2007 alone, “Competitor of the Year” Jonathan Wang emerged as a force with which to be reckoned on the open circuit, while the great Randy Couture shocked Gabriel Gonzaga and Gather Time to capture “Grappler of the Year” honors. And finally, long overdue “Writer of the Year” honors go to John Steven Soet, who has chronicled the lives and legacies of these past and present legends.

PREVIOUS WINNERS

2007 2005 2003 2001 1999
Jerry Poteet Nick Gracenin Dennis Brown Hawkins Cheung Wesley Snipes
Hui Liu Lily Lau Graciela Casillas Wang Jurong Lucia Rijker
Doc-Fai Wong Richard Lee Glenn C. Hart Tak Wah Eng Pui Chan
Seming Ma Elaina Maxwell Team Evergreen Jeanne Chinn Cung Le
Jennifer Tijong Collin Lee David Tadman Pat Rice Burt Richardson
Jose Paman Terry Wilson Gerald Okamura Ric Meyers Jackie Chan
Matt Hughes Ronaldo “Jacare” Xande Ribeiro Mark Kerr Shannon Lee
de Souza Kazuyoshi Ishii

2006 2004 2002 2000 1998
John S.S. Leong Henry Look Donnie Yen William C.C. Chen Chuck Norris
Ming Qui Wei Qi He Michiko Nishiwaki S.L. Martin Michelle Yeoh
Tiffany Reyes Carter Williams Lu Xiaoling Mimi Chan Huang, Chien-Liang
Samara Simmerman Tiffany Chen Ziyi Zhang Wallid Ismail Maurice Smith
Jimmy Wong Angie Rivera Travis Wong Anita Lopez
Jose Fraguas Jeff Chinn Jou, Tsung Hwa Martha Burr
Dean Lister Scott Coker Robert Dreeben Gene LeBell
Tito Ortiz Century Martial Arts


MAN OF THE YEAR > DR. YANG, JWING-MING<
He has been a martial arts and publishing giant for more than three decades. With Yang’s Martial Arts Academy (YMAA) schools dotting every corner of the world, and senior instructors creating equally large names for themselves, Dr. Yang, Jwing-Ming could have easily called it quits, proclaimed a “job very well done” and quietly disappeared into the martial arts fabric.
No one would have blamed Dr. Yang for letting someone else handle the kung-fu reins. All the white crane and tai chi master has done since coming to America in 1974 is establish 50 schools in more than 16 countries, written more than 30 books and produced over 40 DVDs. That’s a lifetime of service for even the heartiest of martial arts souls.
But for the man whom Inside Kung-Fu called “one of the 100 people who have made the greatest impact in martial arts in the past 100 years,” going quietly into that good night was never his style. Nope. For the man who earned a doctorate in mechanical engineering from Purdue University there were still plenty of goals to meet and promises to keep.
One such promise, made to the late, great tai chi master Jou, Tsung-Hwa, involved establishing a full-time martial arts retreat where young students with a desire to learn both the physical and spiritual aspects of Chinese martial arts could study day and night without the pressures of work or family.
For Dr. Yang, 60, his dream has turned into the YMAA Retreat Center, which sits on 240 acres of remote woodlands in Northern California, isolated from the distractions of modern society. The Center’s established infrastructure includes a solar array for sustainable, off-the-grid power; a spring-fed well; and facilities for living and training. Far from his home in Massachusetts, this quiet place in the forest is entirely dedicated to what Dr. Yang describes as his final mission: to transmit his complete knowledge to the next generation of teachers and preserve the Chinese martial and healing arts.
“Today’s martial arts society, all they teach is martial arts. But part of martial arts training is morality—they ignore it completely,” Dr. Yang said in a recent IKF interview. “It’s a kind of self-discipline, and it’s disappearing. So I need to use martial arts as an educational tool. To teach a new generation about what is morality. Morality is not only to yourself, but also to the people. It’s a mutual relationship. These kinds of things are disappearing.
For 35 years, Dr. Yang has taught the benefits of Chinese culture and popularized traditional martial arts throughout the world. He is in a unique position: Carrying the legacy of the generation of the old masters and possessing a keen understanding of a new generation, he has dedicated his life to bridging the East and the West, and researching the ancient arts with a modern scientific perspective.
Soon he will marry the two philosophies and hope for the birth of a new generation of old-generation practitioners. Dr. Yang’s legacy was solid long before he adopted the Retreat project. This just adds fuel to his already-glowing legacy.

WOMAN OF THE YEAR > ADDY HERNANDEZ<
Not since the days of the legendary Graciela Casillas has a female practitioner so captured our hearts and minds. Beautiful and deadly, Hernandez has taken the martial arts world by storm. A combination of fitness and function, Addy is earning the respect of her peers with a no-nonsense attitude built by years of dogged commitment and training.
An Inside Kung-Fu columnist and Unique Publications DVD author, Hernandez began her martial arts training in 1994 under KI Fighting Concepts founder (an IKF columnist) Joseph Simonet. Training in both kenpo karate and Filipino stickfighting, Addy also found time to study Yang-style tai chi and meditation.
The grueling years of early mornings and late nights paid off with multiple black belts in myriad styles. Today, Hernandez holds fourth-degree black belts in KI Fighting Concepts and doce pares; a third-degree black belt in Tracy’s Kenpo karate; and a second-degree black belt in escrido. She also is a certified instructor in Yang-style tai chi.
Hernandez continues to expand her knowledge and abilities by stretching her mental, physical and philosophical boundaries.
She promotes, organizes and teaches at Wind and Rock, one of the fastest-growing, most highly acclaimed martial arts training camps in the country. She has also been an active participant in Simonet’s many public appearances and seminars coast to coast. She also has appeared on two Inside Kung-Fu covers in the past three years.
Most martial artists would be content to rest on these lofty laurels. But Hernandez, who also teaches yoga and runs marathons, insists she’s just beginning.
“I can honestly say I’ve barely scratched the surface in my training,” Addy explained. “The more I learn, the more I want to learn. It’s as if each martial arts door leads to another.”
The secret, she insists, is to remain balanced and maintain a solid focus on the goal at hand.
“Finding balance and peace in one’s life is all about making the right choices,” she notes. “I am convinced that I can make positive choices, which will almost always produce harmonious results. Certainly, life confronts us with many challenges and sometimes seemingly insurmountable obstacles. I am, however, a believer in the old adage, ‘chance favors the prepared mind.’”
When the time came, Hernandez was prepared for her latest challenge—a DVD for Unique Publications called, “A Cut Above.” The DVD illuminates what can happen when a blade finds its way into the hands of a skilled practitioner.
While Addy Hernandez is a relative newcomer to the world of martial arts, she is anything but a neophyte. Combing the drive of a beginner with the desire of a hardened veteran, Hernandez will only get better, stronger and more polished in the decades to come.

>ADRIANO EMPERADO< INSTRUCTOR OF THE YEAR
He spends much of his time in a wheelchair these days, but few sifu stand taller in the martial arts world that the incomparable Adriano Emperado. For nearly 60 years, the name Emperado has meant martial arts supremacy; the style of kajukenbo a living, breathing testament to the greatness of so many before him.
Today, Emperado’s kajukenbo is famous throughout the world for its tough-as-nails fighting foundation. Not surprising, actually, considering his rough-and-tumble Hawaiian background and training under the great warrior himself, William K.S. Chow.
Born in Honolulu’s turbulent Palama section in 1926, Emperado spent his formative years in boxing, escrima and judo before joining Chow and eventually becoming “Thunderbolt’s” first black belt.
Emperado opened his first kajukenbo school in 1950 and charged students just $2 per month. The workouts there were legendary; in fact, it is said that class was not over until there was blood on the floor. “You have to experience pain before you can give it,” Emperado said in a 1994 IKF interview. “You have to know what your technique can do.”
Great techniques performed by a great technician proved a perfect combination. Emperado’s fame led to key assignments in law enforcement: 14 years as a harbor policeman; a year with the Hawaii Attorney General’s office; and bodyguard for the governor. Soon, Emperado’s Kajukenbo Self Defense Institute of Hawaii was the largest chain of karate schools in the islands. Emperado brought his skills, as well as several other Chow disciples to America, when he moved to the Mainland in 1969.
For the past 30-plus years, Emperado’s kajukenbo has become a thriving martial art and one of the most-influential styles in the world. Once a year, 3,000 strong gather to pay tribute to their grandmaster. While he sits, they stand and honor one of the greats of all time.

>JONATHAN WANG< COMEPETITOR OF THE YEAR
Had it not been for politics—and a strong addition to a form—Jonathan Wang might be preparing for his coming-out party. As it is, he will have to remain one of America’s best-kept martial arts secrets. Wang was primed and ready to make the Beijing Olympics his personal kung-fu playground while showing the world that Americans indeed can compete on a world stage. And what better stage than the Olympic Games, in the birthplace of kung-fu, doing what he loves best.
Sadly, as they say the best-laid plans of mice and men, as well as those unsuspecting athletes, often go awry. Beijing’s inability to push its home sport into the mix, combined with the addition of “Dan du” movements, which make tai chi more gymnastic, was more than Wang could overcome. For Wang, who runs the Beijing Tai-Chi & Kung Fu Academy in Santa Monica, Calif., the most he can hope for now is the personal pride that comes from being one of the best in the world.
His international results over the past year tell an amazing story of success at every level. Wang enjoyed arguably the greatest single year of competitive kung-fu in Western Chinese martial arts history. Son of the world-renowned tai chi master Daniel Y. Wang, the 35-year-old Jonathan Wang collected an astounding 75 gold medals participating in some of the world’s most-prestigious events.
Among his crowning achievements were Internal Grand Champion honors at the 2nd International Traditional, Kung Fu & Wushu Tournament; Internal Grand Champion at the USAWKF National Tournament; Internal Grand Champion at the 10th Annual Dallas Taiji Legacy; Internal Grand Champion at the Dan Diego Grand Nationals International Martial Arts Competition; and International Grand Champion at the Hong Kong 10th Annual Reunification Tournament.
Wang, however, won’t let something like an Olympic snub keep him from learning and growing. A licensed acupuncturist and holder of a master’s in Oriental Medicine, Wang plans to continue training in Beijing several times a year. Which only goes to show that Jonathan Wang does not need the glory of Olympic Gold to prove his worth in the world of kung-fu.

>RANDY COUTURE< GRAPPLER OF THE YEAR
He clips the “wings” of the fleetest, strips power from the strongest and makes mere athletes yearn for yesteryear. He’s not only nasty, ruthless and impartial, he may be the most hated man on the planet. He is Father Time.
But not even Father Time can handle UFC heavyweight champion Randy Couture, because a regular fighter Randy Couture is not. He’s indifferent to reputations and welcomes seemingly insurmountable challenges, which is why he looked Father Time square in the eyes recently and submitted him—once again. Defying age, predictions and the odds, Couture, 44, scored a convincing TKO over Gabriel Gonzaga at UFC 74 in late August and retained his heavyweight title.
“I am not really here for titles,” said Couture. “The hardware is nice and the title is icing on the cake, but it’s more about performance.”
That impressive performance followed his heavyweight title-clinching victory of Tim Sylvia last March.
“Not bad for an old man,” said Couture, immediately after the Sylvia fight. Not bad, indeed.
“He’s [Couture] a unique individual,” said Dana White, UFC president. “You do not see many competing at 44. He’s a freak of nature. He’s an incredible athlete, fighter and human being. I have nothing but respect for Randy Couture.”
The Couture freight train doesn’t show any signs of slowing, prompting some to wonder how long he’ll fight and speculate as to whom can take away the crown.
“Do I think I’ll still be fighting when I’m 50?” said Couture. “No.” White feels otherwise.
“Yes, I honestly do,” he said. “The guy is a freak. He’s an amazing fighter and a monster.”
Although the UFC heavyweight division has beefed up recently, White isn’t sure anyone poses a threat, although he says there could be some “good match-ups” for Couture. When asked whom he sees, Couture uttered the “F” word, as in Fedor Emelianenko.
“I want to fight the best guy in the world,” he said. “And Fedor is the best in the heavyweight division. Bring him on.”
If and when that happens, don’t be surprised if Couture again beats two opponents on the same night—Fedor Emelianenko and …Father Time.

>JOHN STEVEN SOET< WRITER OF THE YEAR
John S. Soet entered the world of martial arts at the age of 16 as a student of the legendary Chuck Norris. Eventually, he earned black belts in shotokan and hapkido, and studied various other arts for more than 20 years. At the same time, he pursued a career in film, journalism and television, earning a bachelor’s in communications from Loyola University and a master’s in professional writing from the University of Southern California.
In the early years of his film career, he was able to work in such exotic locations as Hong Kong and Manila, and directed a series of low-budget films. Among his accomplishments are Fire in the Night (featuring martial arts legend Graciela Casillas), Eliminator Woman (with Karen Sheperd, Jerry Trimble and Michele Qissi), and Southern Fired Shakespeare, which own the gold medal for Best Short subject at the Houston Film festival (the same award previous won by both Steven Spielberg for Amblin and George Lucas for THX1138).
In 1987, he took on a new challenge as editor of Inside Karate magazine, and served in that position for the next 11 years. During his tenure, he was instrumental in launching several new magazines, including Master Series and Inside Martial Arts. He also authored Martial Arts Around the World I and II. In 1998, he was aksed to head up Unique Publications’ video department. Within four years, he expanded the library from less than 300 to nearly 700 videos, making Unique Publications the world’s largest producer of martial arts video.
Today, Soet remains one of the most respected voices in martial arts, a published author many times over and a long-overdue choice as “Writer of the Year.”

Choosing a Knife

Inside Kung-Fu
“Choosing a Knife”
By Addy Hernandez
June 2007

Carrying a weapon for self-defense is a serious commitment. If you are going to trust your life to a piece of gear, you owe it to yourself to choose that gear carefully. When it comes to choosing a knife for personal defense, there are some specific qualities you should consider.
Strength tops the list of qualities that a good self-defense knife should have – particularly if it is a folding knife. The design, engineering and quality of execution of a folding knife lock all affect a knife’s inherent strength and its ability to withstand the physical stresses of powerful cuts and thrusts. A lock failure could cause a folding knife to not only live up to its name at the wrong time, but it could also cost you a few fingers in the process.
Functionality is another necessary characteristic. The blade style, shape of the point, edge geometry and sharpness all have a direct bearing on how well the knife actually cuts and punctures when employed in a high-speed defensive situation. The best way to understand this quality is through actual test cutting on targets that replicate the body parts you would be cutting with your style of knife tactics. For example, if you focus on disabling cuts that target the connective tissues of the arms and legs, you can make test targets using meat roasts wrapped in plastic (to simulate skin) and covered with clothing. If your knife performs well and creates the depth of cut necessary to hit your preferred targets, you’ve validated the functionality of your knife. You’ll also have a realistic understanding of the true destructive power of your blade.
Another aspect of functionality has to do with the shape and construction of the knife’s handle. A good knife handle must provide you with a secure grip and allow you to manage the shock that is transferred back into your hand during full-power cuts and thrusts. Slippery, poorly shaped handles can compromise your control of the knife and, in extreme cases, could even result in self-inflicted cuts. Imagine thrusting full force at a soft-tissue target and hitting solid bone. If the shape and material of your knife handle won’t allow you to positively manage that type of shock, you need to keep shopping.
Convenient carry must also be a prerequisite of a defensive knife. To ensure that the knife is available when you need it, it should be carried in a comfortable, accessible location on your body at all times. That carry position must work with all the styles of clothing and allow you to carry the knife in a consistent location on your body. Many knife collectors brag about their “rotation” of knives, and often have a different carry knife (or knives) and carry style for every day of the week. Knife players who truly understand self-defense, however, know that the rapid deployment of a knife is a critical component in effective fighting. Always carrying your knife in the same position is one of the keys to rapid deployment, since reflexes are based on consistent, repetitive actions.
Quick, reliable deployment of a knife begins with carry location, but there is more to it than that. That’s why “deploy-ability” – a combination of design characteristics that allow the knife to be rapidly drawn and opened to a ready position – is also an essential quality of a personal defense knife. For folding knives, this usually means a combination of a clothing clip and some type of hole, stud or disk in the blade that allows it to be opened with one hand. For fixed blades, it’s typically a synergy of knife and sheath design that supports comfortable concealed carry and a fast reflexive draw.
The final basic quality of a good personal defense knife is that it is legal to carry in the areas in which you operate. Research of the knife laws in your area – both state and municipal – will help define the types of knives and methods of carry that are legally permissible. In many cases, the terminology of the laws may seem unclear, but if you focus on key elements like blade length restrictions on double-edged blades and other specific characteristics, you can usually get a pretty good idea of what is and isn’t legal.
By choosing a knife that clearly falls within these parameters, you will not only be able to defend your life and the lives of your loved ones, but you will be in a much better position to justify your actions in court. And unfortunately in today’s world, defending your actions just as real a challenge as defending your safety. Do your research, choose your knife wisely and you’ll be well prepared to do both.

Making the Chi Sau Connection Part 1

Inside Kung-Fu
“Making the Chi Sau Connection Part 1”
By Joseph Simonet
October 2003
Pg 30-34, 67-68

Sensitivity in chi sau is all about sensing your opponent’s intent through physical feedback and pressure. PART 1

Chi sau is a dynamic, energy-based training exercise that teaches its practitioners the critical elements of structure and sensitivity in close-range fighting. After more than 30 years of training in many systems of martial arts, chi sau continues to be one of the most important training methods in my curriculum. How-ever, writing a meaningful article about chi sau, unlike teaching it first-hand, presents two major challenges.
First, how do I compress 20 years of chi sau training into a few thousands words? The best way for you to understand my teaching is for you t understand me. In short, I write the way I teach, I teach the way I train, I train the way I fight, and I fight to win. With that in mind, this two-part article will focus on the functional structure provided by chi sau training with the goal of practical application in a fight.
The second challenge is making my instruction relevant to everyone reading this. Whether you have been training in the martial arts for 30 years or 30 days, your personal skills and abilities hopefully will be enhanced by what is offered here. And so I have decided to focus on some of the misunderstood aspects of chi sau training and two specialized exercises that form both excellent precursors to chi sau training and useful supplemental exercises for experienced sticky hands practitioners.

Penetrating Hands
Chi sau, or “sticky hands,” is a highly developed training method that is integral to the study of wing chun gung-fu. It is designed to teach practitioners how to quickly and efficiently pierce an opponent’s defenses - and maintain their own - while fighting at contact distance. Although it is often described as a “sensitivity” exercise, this term can be misleading. If your concept of sensitivity is petting a puppy or taking an anger management class, you’re missing the point. Sensitivity in chi sau is all about sensing your opponent’s intent through physical feedback and pressure - Feeling what he is trying to do before you see it.
To achieve this type of feedback, you must make contact. Therefore, the first step in understanding chi sau is under standing the commitment to contact-range fighting. When boxers close the gap and their arms are entangled in a clinch, the referee separates the fighters to allow the fight to continue. Real fights don’t have the luxury, so chi sau practitioners learn to use contact-distance clashes and entangled arms as the foundation of much of their fighting skill. In fact, this type of engagement is precisely the situation in which a well schooled student of chi sau will have a clear tactical advantage and power superiority over fighters from other systems.

The 4 Ranges of Combat
Generally speaking, there are four ranges of unarmed combat - kicking, punching, trapping, and grappling. Chi sau deals exclusively with trapping rang, which can be simplistically defined as the distance at which elbows strikes are most valuable and effective. A more colorful definition of trapping range would be the distance at which knees, elbows, and attitude wreak havoc - the true “in your face” range of close combat. At this range, visual perception - the ability to determine an attacker’s intent by sight - is not fast enough to fight effectively. You are literally so close that your opponent can hit you before you can react.
However, by making contact with him and “feeling” his intent, you can determine it instantly. This “fighting by Braille” approach will allow you to dominate and destroy most average opponents at close range. It is also the one element that is most often missing from the skill sets of most beginning and advanced martial artists of other styles.
Structurally, there are three fundamental arm positions in chi sau: bong sau (wing hand), taun sau (palm up), and fook sau (bridging hand). These are demonstrated in photos 1-3. The unique and often misunderstood aspect of these three positions is their ability to function in multiple ways. They can be used in singular actions as blocks, attachments, and a means of deflecting incoming attacks. At a more advanced level, they can also be utilized in conjunction with other simultaneous actions and as reactive mechanisms. For example, in photos 4 and 5 the taun sau is used in conjunction with a left straight punch to effectively block and counter strike the attacker’s left hook. When considered alone, the specific qualities of the taun sau as a block are clearly seen. When considered with the straight punch, its function as part of simultaneous, coordinated actions is also clear.

Pulling the Trigger
A higher-level application of the taun sau allows it to function as a reactive mechanism or “trigger.” In chi sau training, the taun sau is used as an attachment to “stick” to a partner’s opposite hand, as shown in photo 6. The remaining photos of this sequence demonstrate single sticking hands, or doan chi, as well as the deflecting and triggering qualities of the taun sau. The person on the left (“A”) is attached with a fook sau to the person on the right (“B”), who is in a taun sau position (Photo 6). When “A” throws a left straight punch, “B” senses the incoming attack and maintains adhesion with the attacker’s wrist (Photo 7). This deflects the punch outward and opens “A’s” centerline for an immediate palm heel strike with the same hand (Photo 8). Note that during the palm strike, “B” maintains contact with “A’s” left arm so he can continue to detect, deflect, and counter-attack based on feel and sensitivity.
Even with the benefit of competent firsthand instruction, learning chi sau can be a trying experience. To become an accomplished sticky hands player, you will ultimately have to endure months of frustration, pain, exhausted, aching shoulders, and getting slapped around by more experienced practitioners. However, to make this process less arduous and speed your progress, I have developed a series of training drills as a precursor to actual sticky hands practice. Performed properly, these drills will prepare you physically for chi sau training and also give you a means of solo practice that you can continue to use when training with out a partner.

The Inner Tube Drill
This is a unique and extremely valuable training method, which teaches proper sticking alignment and structure to develop a “feel” for sticking. More importantly, it develops the strength and endurance necessary for quality sticking skill.
The inner tube drill is illustrated in photos 9-12. To perform this drill, the person on the left (“A”) places his right foot forward with 60 percent of his weight on the lead foot. His arms are held palm up with the elbows bent and the inner edges of the arms touching from the elbows the edges of the hands. Both elbows are approximately one-fist distance out from the center of the body. This is the double taun sau. The forward weight distribution and lean creates an aggressive body structure and forward “load.” This posture is also the foundation for straight punching with closing footwork.
The person on the right (“B”) in photo 9 assumes the same body position and the same forward load, however, his hands are placed in a double fook sau position - loosely curled with the insides of his wrists contacting the outside of “A’s” wrists.
From the double taun sau position “A” folds his hands together to a palm-to-palm position while applying smooth forward energy against “B’s” resistance (photo 10). Continuing to roll his hands, “A” goes from palm down to palm out, until the backs of his hands touch and his elbows rise slightly (photo 11). This is the double bong sau position. “A” then reverses this process to return to the starting position (photo 12) “A” repeats this action - double taun sau to double bong sau - over and over against the constant pressure of “B’s” resistance.
Not the “B’s” double fook sau is the connecting bridge between the two partners. As “A” rolls from taun sau to bong sau and provides forward pressure, “B” maintains contact and “rides” the movement and pressure of “A’s” double bong sau.
If you do not have training partner, you can practice this motion with its namesake - and inner tube. Purchase an inner tube from any local bike shop. The size of the tube you choose will depend upon you physique and strength. You may have to try several different sizes before you find one that is just right.
The solo inner tube drill is demonstrated in photos 13-16. Place the inner tube over your body so it is wrapped around your upper back. Hold the front of the tube with your thumbs with your arms in the double taun sau position. Now perform the drill as you would with a partner, using the elasticity of the tube to provide resistance (photos 14-16).
Serious practitioners of chi sau must develop their deltoids, triceps, and lattisimus dorsi to become proficient at sticking. My students perform 500 repetitions of this drill at least three times per week. After three months of this training, they typically will develop the specific strength and form to progress to chi sau training.

Bong Sau Drill
The bong sau drill is another excellent exercise that develops the skills and strength to be proficient at sticking. The body structure, forward load pressure, and arm positions are identical to the inner tube drill; however, in this drill, the practitioner learns to move his arms independently rather than in tandem.
In the bong sau drill, the partner in the double fook sau position is the proactive player. This drill illustrated in photos 17-21. From the same double taun sau/double fook sau starting position, the person on the left (“A”) throws a right straight punch at the chin of the partner on the right (“B”). As “B” senses “A’s” punch, he rolls his left arm into a bong sau position, maintaining contact with “A’s” arm and deflecting the punch upward (Photo 19). “A” then throws a left straight punch. “B” senses her punch and responds with a right bong sau (photo 21).
Continue this pattern, alternating left and right sides for many hundreds of repetitions. As you progress, you can also mix and match right and left punches and vary the speed and energy of your strikes to challenge your partner. Performed properly, this exercise can become quite lively and serve as preparation for actual chi sau training.
These drills are an excellent way to develop the proper structure and specific skill and strength necessary to practice chi sau. By first learning and practicing these, you can avoid many of the common mistakes made in chi sau practice and will achieve proficiency much more quickly. Even experienced chi sau players will find these drills a useful supplement to their current training, as well as a means of practicing their skills when a training partner is not available.

(In part 2 of this article, the author discusses how to expand the skills developed with these drills into actual chi sau practice with a partner.)

Self Defense

Inside Kung-Fu

“Size Matters”

By Addy Hernandez

April 2007

Pg. 24

Let’s fact it: in self-defense, size does matter. Like it or not, your size, your attacker’s size and the relative difference between the two have a tremendous effect on how much damage you can inflict on each other.

This problem affects all martial artists, but it is of particular concern to women, because most of our attackers will be larger and stronger than we are. Understanding, accepting and preparing for this disadvantage is critical to any sound women’s self-defense plan.

Many martial arts claim that their technique, combined with only minimal force, can help a small person overcome a much larger one. For example, it is often said that to perform aikido technique, the practitioner only needs the strength to life 16 pounds. In theory, that sounds great. The problem is that it takes years of practice and training to develop the reflexes, timing and finesse to know exactly how to apply those 16 pounds of force in the chaos of a real attack.

Some simple techniques – like eye strikes and kicks to the knee – can allow a smaller defender to cause serious damage and can help compensate for a disparity of size or strength. However, these techniques are target specific and still require a significant degree of speed and strength to deliver.

The ultimate weapon for women’s self-defense is something that requires little skill, almost no strength and can literally destroy any body part it touches. The ultimate women’s weapon – and the ultimate self-defense equalizer – is the knife.

According to a medical study conducted by the Welsh National School of Medicine, a sharply pointed knife blade can penetrate human skin with as little as half a kilogram (1.1 pounds) of pressure. They determined this figure by using a specially designed knife with a scale built into it to perform penetration tests on actual human cadavers. While clothing will create some additional resistance, the sharp edge and point of a knife still offer a tremendous amount of destructive power when applied with only minimal force. And, as previously noted, this destructive power applies to literally any body part that the blade touches.

Although any cut you deliver to an attacker can help keep you safe, the best tactic for applying the knife in self-defense is based on the Filipino martial arts strategy of “defanging the snake” – targeting the attacker’s attacking limbs. Normally, this is interpreted as cutting the wrist or forearm to disarm his weapon, but its functional application goes well beyond that. The key is to understand basic human anatomy.

The human body moves because muscles contract. When muscles contract they pull on tendons that are attached to bones. Cutting a tendon – which is similar to a cable – immediately detaches the muscle from the bone, disabling or completely crippling the motor function normally provided by that muscle. Cutting the muscle itself can also produce the same result by destroying the integrity of the muscle and preventing it form contracting. Either way, the result is an immediate loss of the motor function of the joints powered by those muscles and tendons. This happens instantly and is not dependent upon blood loss, pain or any reaction-based effects.

Let’s say an attacker attempts to strike you with a weapon. As he extends his arm toward you, you simply evade and cut the muscles or flexor tendons on the inside of his wrist. The result is an immediate loss of his ability to grip anything with that hand. This same tactic could be used against any type of grabbing attack or attempted abduction. Assuming that your attacker is physically larger and stronger, and that you are justified in using a knife for self-defense, a single cut to his inner wrist offers and immediate release from any choking or grabbing attack.

Similarly, any deep cut to the quadriceps muscle just above the knee immediately destroys an attacker’s ability to support weight on that leg, typically dropping him to one knee and offering an excellent opportunity to escape.

One common criticism of the knife as a defensive weapon for women is that an attacker can disarm you and use it against you. If you introduce a knife into a self-defense situation, you are doing so because you are in fear of suffering death or serious bodily injury. To keep yourself safe in such a situation, anything you do must be done with conviction and ruthless self-confidence. Develop that attitude and combine it with the destructive power of a sharp knife, and you have a solution for the ultimate self-defense equalizer.

Sustained Effort

Inside Kung-Fu
"Sustained Effort"
By Joseph Simonet
May 2007
Pg 24
Recently, after a vigorous training session at my martial arts gym, a young student of mine (early 20s) asked to talk to me in private. "Well of course," I replied, "what’s on your mind"?
"How do you do it"? He asked.
"Do what?"
"How do you stay so positive, so upbeat and energetic? Here you are twice my age, and you’re fitter, stronger and seemingly happier than me. Oftentimes, I feel like I’m at the end of my rope and you’re always talking about how it’s just the beginning. I feel like I need direction, motivation, hope, something I can hold on to. What’s your secret?"
"Well" I replied, "The simple answer is ‘sustained effort’ and ‘when in doubt, train.’ Through life’s ups and downs, in these uncertain times, training my mind and body has been an enormous foundation that I can stand upon with certainty."
"No offense sifu, but aren’t you a little old to still be training do hard? I mean seriously, you’re older than my dad and he doesn’t even work out, not like you anyway."
"No offense taken," I answered.
I proceeded to explain to the young man that self-doubt has destroyed many people’s lives. Many unfulfilled dreams have been a result of self-doubt and a lack of motivation and discipline. "Keep training," I said, "no matter how challenging or difficult life seems sometimes."
Later that evening, I thought about my student and what we had talked about. I was about 20 years old when some old guy (about my age now) explained to me how "it’s such a shame we have to waste our youth on the young." How ironic. I am now the "old guy" and here I am, caught in a full circle chain of events.
Looking back at my life, I realize I have had to endure several heartaches and trials to get to this point. I fell in love, got married, then divorced. I raised my children into fine adults. I buried my grandparents, buried my father and buried my brother. I became addicted. I got sober. I made money. I lost money. I had moments of triumph and also got my teeth knocked out. I achieved black belt status only to get thrown out of systems by teachers I revered. I have been sued and slandered. I have read books and have authored books. I have traveled the world and back again, and so on.
I have lived over a half-century, only to realize I am just starting to figure things out. Yes, it is only the beginning, and through it all, I have never stopped training my martial arts. Whenever life’s challenges got me down, or dealt me a blow, when joy turned into sadness and doubt, my training kept me on task. I have survived several course corrections, but never have I abandoned ship.
I have been very fortunate to have had many great martial arts teachers and students in my life. Several times in my career I have studied multiple systems at the same time. For instance, in 1976 I was studying goju and hung gar as I was teaching kenpo karate. Sound confusing? I suppose it was, but I was 22 years old and had an insatiable desire to learn. It was the learning, training and discipline that fueled my motivation that kept my life on track. In 1992, I was training pentjak silat, Yang-style tai chi, boxing, and working out with a high school wrestling team all while furthering my development of the "Slam set - The Art and Science of Mook Jong." Once again, the common thread was sustained effort.
Cross-training with weightlifting has also been a powerful and essential ingredient not only to my martial prowess, but also to my positive state of mind. I started lifting seriously when I was 15. By the age of 16, I could bench press 310 pounds. I was obsessed with lifting. Looking back at my obsession, I now realize that no matter what negativity was coming at me - alcoholic parents, peer pressure, social upheaval (i.e., Vietnam, civil unrest) - weightlifting gave me a sense of control and empowerment. As my poundage increased, so did my confidence and self-worth.
My advice to anyone reading this column is to start training, stay training and encourage others to do the same. Oftentimes, in martial arts as well as life itself, we get bogged down by injury, politics, dissenting opinions and self-doubt. Train diligently; sharpen your skills and open your mind. As a Chinese master once told me, "There are a thousand doors to the same room." I suggest that hard work, discipline, rigorous martial arts practice, supplemented with cross-training with a lifelong commitment to sustained effort is the key to unlocking your door.