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.

The Future of Dummy Training

Inside Kung-Fu
“The Future of Dummy Training”
By Joseph Simonet
May 2004
Pg 30-35, 66-67

Put 13 dummies together and what do you get? The training system of the future.

The mook jong, or wooden dummy, is among the unique and effective training devices developed for the martial artist. Unlike simple punching bags and makiwara that only allow the practice of offensive striking techniques, the mook jong provides a platform for training both offensive and defensive movements. With a bit of imagination, it also helps the practitioner chain numerous techniques together, accurately simulating the dynamics of a real fight-an even that rarely resembles a one-sided offensive combination on a heavy bag.
Although the mook jong is probably the most advanced method of solo training possible in the martial arts, learning its proper use is best accomplished through hands-on instruction with a qualified teacher. To do this effectively, both the instructor and the student should be able to perform the movements on the dummy simultaneously. In this way, the student can accurately mimic the instructor’s technique in real time.
With two or possibly three dummies mounted side by side, an instructor can effectively teach up to two students at a time. Beyond that, however, the traditional wall-mounted dummy configuration makes real-time mirroring of an instructor’s movements-the most efficient learning method-impractical and ineffective.
In the KI Fighting Concepts curriculum, we focus heavily on mook jong training because we are confident that it is the most advanced and productive method of solo practice. Although the roots of our dummy draining lie in wing chun gung-fu (one of our core systems), through extensive experimentation and development we have adapted the techniques of our other core systems-kenpo, eskrima, pentjak silat, and taijiquan-to the dummy as well. The resulting training method is called “The Art and Science of Mook Jong.” Like the KI Fighting Concepts curriculum, this method is an eclectic, combat-orientated synthesis that blends and cross-references movement at the conceptual level, while maintaining respect for the core classical styles. The “science” of our wooden dummy training identifies the common elements and physical structures of the arts and refines them through repetitive contact training. Based on this foundation, students learn to connect and integrate movement in a non-linear progression. This personalized and, ultimately, spontaneous expression of their martial skill becomes the “art” of the method.
Despite the many advantages offered by our mook jong curriculum, for the reasons noted earlier, we sill couldn’t teach it effectively to large numbers of students. Therefore, we applied the same spirit of innovative traditionalism that characterizes our dummy curriculum to the design of the dummy-learning environment itself. The result is The Octagon.

What It Is
The Octagon is a 25-foot-wide octagonal platform that is home to an array of 13 wooden dummies. The base of the Octagon is a four-inch-thick concrete pad reinforced with #9 bar screen. This pad, which required eight yards of concrete, was poured over a two-inch bed of 5/8-inch gravel to keep moisture from leeching out of the concrete and ensure that the base would be impervious to the extreme weather changes at its location in Lake Chelan, Wash. After the concrete was poured, it was carefully surfaced to create a 1-1/2-inch drainage slope from the center to the outside edges of the platform. It was then coated with a pecan-colored powder and stamped with a late stamp for texture and aesthetic appeal. All edges of the platform were reinforced with 22-1/2-degree steel braces to guarantee the proper angles at the corners of the Octagon and further strengthen the platform.
Most traditional mook jongs use a wooden framework to provide the combination of support and shock absorption necessary for a good “live” dummy. To provide this same feel, yet allow for simpler construction and an unobstructed view, we developed a different mounting method. After determining the proper locations of the 12 other dummies, we used a roto hammer to drill a pattern of holes into the concrete to accept threaded inserts. We then used lag screws to attach three steel right-angle brackets to the base of each dummy. A thick rubber pad was placed over each set of mounting holes in the concrete, each dummy was carefully aligned, and then 5/8-inch steel bolts were screwed through the brackets and pads into the threaded inserts in the concrete. By carefully adjusting the tension of the bolts against the compression of the rubber pads, we tuned each dummy to have just the right about of “give” to move and react like a traditional frame-mounted mook jong.

Pivotal Change
The center dummy of the array was mounted differently. Instead of a static mount, we attached it to a pivoting steel sleeve that was inset into the concrete platform. This arrangement allows the center dummy to pivot 360 degrees, yet be locked down in any position. In this way, I can quickly and easily reposition the dummy to provide different views to the students working the outer dummies.
The first real test of the effectiveness of the Octagon came during my Wind and Rock training camp last July. I took 24 of the 60-plus participants in the camp and paired them on the 12 outer dummies. I then proceeded to teach a variety of dummy movements, drills, and combinations just as I do during private lessons. After one partner of each pair had an opportunity to both follow along with me and practice the movements individually, we repeated the process for the other partner. Throughout the process, I adjusted the position of the center dummy to provide a variety of viewing angles for all the students.
The results were phenomenal. I not only could effectively teach dummy technique to a large number of students in a single session, the group learning dynamic provided by the Octagon reinforced the training material and reduced the performance anxiety that students typically feel when working the dummy alone. Rather than feeling like they were in the spotlight, they felt the support and camaraderie of a group training session. The net result was that they learned faster and had better retention of the information than students who performed one-on-one. This method also validated wooden dummy training for many of the participants and motivated them to incorporate it into the practice of their core styles.

Height Advantage
The Octagon also offers a number of other significant advantages. To accommodate students of different heights, the outer dummies of the Octagon were made different sizes. Initially, students are positioned at a dummy that is comparable to their own height and reach to make learning the movements easier. However, once they become proficient at using the dummy, we move them to a different dummy that is larger or smaller. This forces them to adapt their motions to an “opponent” who is taller or shorter than they are. Rather than forcing a technique to work the same way, they learn to modify their movements on the fly to achieve the desired result. For example, an elbow strike to the head of a shorter dummy might only reach the torso of a taller one. A downward check and strike might, therefore, be replaced by an upward check and strike to compensate for the difference in height.
Initially, students are given time to sort out the necessary changes in their technique. Once they have learned to adapt to both taller and shorter dummies, they proceed to a form of “round robin” training unique to the Octagon. Like a game of musical chairs, the students must quickly move from one dummy to the next to perform either a drill, a portion of a form, or an entire form. By varying the movement pattern through the dummies, they have to spontaneously adapt to the different heights as they move. For a real challenge, I have them begin a form, like our “slam set,” on one dummy. On my command, they stop where they are in the form, move to another dummy, and resume the form. This process is repeated until the form is complete. This type of marathon training is one of the most challenging forms of dummy practice and is the final stage of testing in our mook jong curriculum.
Unlike the traditional wooden wall mount, the mounting system used for the dummies in the Octagon allows a 360-degree range of movement around each dummy. Students can practice a broader range of footwork and angling and can even move behind the dummies to practice chokes and rear takedowns.

Multiple Uses
The array of dummies in the Octagon is also an excellent resource for multiple-attacker training. Advanced students who are already comfortable dealing with a single opponent are first introduced to the basic concepts of fighting multiple attackers. Once they understand the concepts of “stacking” attackers, the use of human shields and obstacles, and the use of hit-and-run tactics, they learn to apply them with power in the Octagon. By varying the student’s starting position and orientation, we can simulate countless realistic attack scenarios.
Another unique advantage of the Octagon platform is that its outdoor location leaves it completely exposed to the elements. This allows students to train in all the weather conditions possible in central Washington, from intense heat to bitter cold. When the snow falls, we do not shovel the Octagon platform clean. Instead, we use the snow and ice that accumulates on the platform as a training tool to teach students how to move, maintain balance, and generate power in realistic environmental conditions. Since many real street attacks occur at night, we do much of our practice on the Octagon during the hours of darkness. This teaches us to rely on touch rather than sight and to apply our sensitivity skills to realistic fighting situations.
Since a number of my private students are law enforcement officers and security professionals, I have also adapted the Octagon to their training needs. But using soft-air pistols that replicate their duty firearms, they can practice integrating empty-hand defensive tactics with close-quarters shooting skills. For example, an officer may engage one or two dummies with empty-hand strikes to buy enough time and distance to draw his weapon. He can then fire at the dummies, which simulate attackers at different rangers and angles more realistically than a traditional shooting range. By attaching wooden panels to the dummies or removing the arms from the dummies themselves, the officers can also incorporate the use of barricades and cover.
For most dedicated martial artists, dummy training represents a significant step in their training evolution that allows them to creatively explore both their offensive and defensive technique through dynamic solo training. Similarly, the Octagon represents a quantum leap in dummy training methodology, enabling a single instructor to not only teach a large group of students, but to lead them in real time through progressive dummy drills and forms. It also opens the door to the creative use the multiple dummies and the realistic environmental training that is impossible with traditional mook jong configurations. Most importantly, it is another manifestation of the KI Fighting Concepts motto, “Where innovation transcends tradition.”

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.)

KI Fighting Concepts DVD New Releases

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.)

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.”

KI Fighting Concepts

Inside Kung-Fu
“Joseph Simonet’s KI Fighting Concepts”
?
April 2000

Discover the ultimate training method from the martial art
that is more Jeet Kune Do than Jeet Kune Do:
Joseph Simonet’s KI Fighting Concepts

Sifu Joseph Simonet has devoted his life to mastering a variety of traditional martial arts. After nearly 30 years of experience in the martial arts, he is a Master Instructor of kenpo karate (9th degree black belt) and a certified instructor of Tongkat Serak pentjak silat (2nd degree black belt guru dua hitam), Doce Pares escrima (2nd degree black belt), Eskrido (2nd degree black belt), Yang-style taijiquan and wing chun gung fu.
Through his mastery of these arts, Simonet has realized the values of these various styles; but more importantly, he has realized their shortcomings, both as individual fighting arts and as they apply to people of various abilities, skill levels and body types. This realization led him to develop KI Fighting Concepts: An American Martial Art.
Mirroring Bruce Lee’s original Jeet Kune Do, KI Fighting Concepts draws from all sources and strives for development without boundaries. But unlike modern Jeet Kune Do and most of the other eclectic fighting arts practiced today, KI Fighting Concepts is not merely a combination or haphazard complication of martial arts techniques. Because Simonet has taken the time to understand and master the traditional martial arts in their pure forms, he knows what elements are worth keeps and which should be discarded. He also knows better than anyone that no one martial art is best and that self-development and self-perfection can only come by focusing on the needs of the individual. KI Fighting Concepts is therefore a synthesis of the physical primciples and fighting strategies common to all fighting arts that uses these elements as a foundation to develop the individual fighter. In today’s martial arts world, KI Fighting Concepts is more Jeet Kune Do than Jeet Kune Do.

“There is no substitute for a tough and intelligent approach to training. I personally recommend and endorse this training method and feel that it will give you the edge you need on today’s streets”. Pentjak Silat Grandmaster Ma Ha Guru Victor deThouras

The training methods of KI Fighting Concepts, like the art itself, are intensely progressive and unique. They also make extensive use of the most versatile and effective martial arts training aid ever developed: the mook jong. The mook jong, or wooden dummy, consists of a central body, several protruding arms and, in some cases, an extended leg. It is mounted on a shock-absorbing frame that allows it to provide almost human reactions while easily withstanding the most powerful strikes. Its unique design allows a fighter to practice full-power blocks, strikes and kicks with the same realism as training with a partner, but unlike a training partner, it is never tired, sick, bored or injured. When combined with the proper mind-set and form, this simple device allows the martial artist to train in virtually any technique with tremendous realism and bone-breaking power. It is the ultimate training aid for the ultimate martial artist.
Although the mook jong is usually associated with the practice of wing chun gung fu, its usefulness extends to all martial arts styles. Through his decades of experience, Sifu Simonet learned to use wooden dummy training to perfect his practice of all these arts and ultimately forged them into an explosive synthesis called the “Slam Set.”

“This is the way Bruce Lee would be training with the mook jong if he were alive today.” Grandmaster Al Tracy, Tracy’s Kenpo

Simply put, the Slam Set is the most highly evolved wooden dummy form ever developed. Drawing from his extensive knowledge of the martial arts and countless hard-core fighting experiences, Simonet developed the Slam Set to provide combat-orientated martial artists with everything they need to know to be effective in a real fight in one explosive form. However, the Slam Set is not merely combination of techniques from different styles. Like KI Fighting Concepts, it is the key to understanding the common principles and movement patterns of all martial arts.
Together, KI Fighting Concepts and the Slam Set form a scientific approach to personal combat that enables the practitioner to understand the core principles of the martial arts and use them to perfect his (or her) fighting skills. This approach also allows a fighter to train with proper and complete technique, as well as full power. The result is a highly accelerated method that integrates skill training with physical conditioning to produce astonishing results in a very short period of time.
Until recently, this training method was only shared with an elite group of Sifu Simonet’s private students. However, thanks to a new Paladin video production, the secrets of the Slam Set are now available to you. In the professionally produced two-tape set The Mook Jong Slam Set – Dynamic Wooden Dummy Training for All Martial Artists, Simonet takes you step by step through the movements of the Slam Set and explains their underlying principles and traditional origins. He then puts theory into hard-core practice and teaches you how to apply these movements to destroy a typical street attacker in a matter of seconds. Whether you own a wooden dummy or not, the dozens of explosive fighting applications shown in this set and the insight into the core principles of realistic fighting are more than worth the price of these videos.
Joseph Simonet has devoted his life to the mastery, analysis, and synthesis of the martial arts for one simple reason: so you don’t have to. Don’t miss this opportunity to let him teach you the underlying secrets of the fighting arts and lead you toward personal perfection. The key to discovery in the martial arts is self-discovery. Let the Slam Set show you what you’ve been missing. More training at kifightingconcepts.net

Silat Secrets

Black Belt Magazine
September 2003
“Divining the Secrets of Silat”
Joseph Simonet Finds that Innovation Is the Key to Preserving the Ancient Indonesian Art
Pg. 83-85
By: Michael Janich

The Indonesian martial art of pentjake silat serek is one of the most fascinating yet under appreciated fighting systems ever created. It was purportedly developed by a member of the reclusive Badui tribe of tury. Originally known by his Badui names Aliya Hasan and Grat Zapah, he’s more commonly referred to as “Pak Serak.”
Unlike most founder of martial arts who are credited with possessing great physical prowess, Pak Serak was physically challenged. Standing a mere 5 feet tall, he suffered from two birth defects: an underdeveloped arm that was considerably shorter than normal and a clubfoot. Despite his disabilities, he actively pursued the study of pentjak silat and combined a knowledge of several styles with his own perspective to give birth to the serak system. He later passed his art down to Mas Djut, who adapted its techniques for use by people who were not physically challenged.
During the ensuing two centuries, serak remained secretive. Even though some of its most prominent instructors settled in the United States and openly taught derivative forms of it to the public, true serak had been taught to only a handful of advanced practitioners. Sadly, when those practitioners attempted to share their skills with others, they were disowned—and often discredited by their own instructors as part of a desperate effort to cling to outdated traditions.
Fortunately, one American martial artist chose to break this cycle and transcend tradition. The result of his bold and innovative effort is the martial science he calls “silat concepts.”

INSPIRATION FOR CHANGE
The man who founded silat concepts is Joseph Simonet. A veteran martial artist with more than 30 years of experience, he’s earned advanced teaching credentials in kenpo karate, doce pares escrima, eskrido and Yang-style tai chi chuan. He also holds a black sash in wing chun kung fu and a second-degree black belt in pentjak silat tongkat serak.
Simonet’s inspiration for the creation of silat concepts started several years after he began his formal study of serak. After comparing his instructor’s expression of it with that of experienced practitioners from another lineage, he noticed a significant disparity with respect to the finesse and precision of his line. When his questions regarding the variations went unanswered, he took it upon himself to explore the other lineage to perfect his own understanding and expression of the art.
Simonet’s methodology was simple, yet painstaking. He first assembled all the reference materials he had collected during his years of silat study: books, magazine articles, handwritten notes and hours of videotape. Then, with help from his senior students and other noted martial artists, he began an in-depth analysis of the structure, movements and techniques of traditional serak and its derivative forms.
He also compared the instructional methods of various senior practitioners—first to find differences between one man and another, and then to find changes in the way each man executed his moves at various times in his life. Alone the way, he noted inconsistencies, deliberate changes and simple errors. Throughout the process, he remained focused on the martial function of serak, methodically reducing it to the fundamentals of physical and anatomical structure, leverage and angles.

GOING PUBLIC
Simonet distilled serak into a true martial science that focused exclusively on the functional elements of the system. Like any good scientist, he then sought to validate his research through experimentation and comparison to similar bodies of knowledge. To do that, he turned to senior practitioners of the art and its variations. They not only validated his conclusions, but also encouraged him to continue his efforts and share his brand of silat with the public.
The final phase of Simonet’s research was to examine the art from the perspective of its founder. By simulating the physical disabilities of Pak Serak, he envisioned how the art had enabled him to overcome his limitations. Then, like Mas Djut, Simonet applied those lessons to an able-bodied person. However, unlike Mas Djut, who seemed to have focused primarily on giving serak bilateral symmetry, Simonet sought to take full advantage of all four limbs and further enhance the martial application of serak.
He called the result of his research “silat concepts” and shared it openly through a two-volume instructional video. His intent was to honor the art’s lineage and ensure its continuation. Rather than receiving praise from his instructors for getting unprecedented exposure for the art, he was criticized and ultimately removed from most versions of the serak family tree.
While Simont’s serak elders attempted to deny his very existence, his newfound students and followers praised his efforts and clamored for more. “Although I was very disappointed when I was purged from the lineage of traditional serak, I was extremely encouraged by the positive feedback I received from my students and those who viewed by videos,” Simonet says.
“Probably the most gratifying feedback I received was from active students of several different styles of silat. They commented that my silat instruction was the most organized and lucid they had ever seen. Compared to the traditional follow-the-leader approach, they said, my explanation and analysis of the art made it much easier to learn.”
Simonet claims his ability to teach silat concepts in a clear and concise way stemmed from his analysis of the parent art and his ability to cross-reference it with other styles. “Although I learned silat in the traditional manner—through pure mimicry and trial-and-error application—my real understanding of it came through objective observation and research,” he says. “To be honest, the most important things I learned about silat were never part of my formal instructions in the art.”

SUPERSTRUCTURE
Although silat concepts shares some elements with its predecessor, it transcends the traditional form of the art in several significant ways. Like traditional serak, silat concepts is built on a foundation constructed of the 18 juru (hand forms). However, they’ve been modified to emphasize silat concepts’ enhanced structure.
Those forms are important because they provide a convenient and easily referenced institutional memory of the movements and structure of the system. Once they’re learned, the significance of their movements is revealed to the student through the practice of selected sambut, or techniques. However, rather than focusing on rote technique, students are taught how to identify the physiological potential of them to form their own techniques.
“The juru provide an alphabet for the language of combat,” Simonet says. “But rather than emerely copying the classic writings of our ancestors, silat concepts is a course in creative expression with a focus on modern issues—specifically, practical self-defense.”

FANCY FOOTWORK
Another unique phase of training in silat concepts is its approach to langkha (footwork patterns). Traditional serak requires a student to devote years to learning patterns that emphasize 45-and 90-degree angles. These angles make the execution of techniques more difficult and less efficient; they were used primarily to create an impression of weakness during the elaborate stalking ritual that preceded traditional fights in Indonesia. Because the true application of silat techniques is based on the angles of an equilateral triangle, the footwork of silat concepts focuses on the powerful dynamics of this platform.
Perhaps the most significant improvement Simonet made involves two-hand supported techniques. “The use of the supporting hand was probably critical to Pak Serak’s ability to overcome his physical limitations,” Simonet says. “However, in traditional serak, its role is largely symbolic or limited to a sectoring function much like the wu hand of wing chun.
“By taking full advantage of the supported hand positions in the juru, I’ve supercharged the hand techniques of the art, doubling the power of the offensive techniques and creating watertight defensive frames. Most important, I’ve drawn from my knowledge of wing chun and applied the concept of simultaneous attack and defense to silat structures.
“For example, I used the bong sao (wing-hand block) to create a hybrid corkscrew punch that offers both attack and defense in a single movement.” Curiously, this technique, which was never part of traditional serak, has been adopted by Simonet’s former branch of silat and is now taught as an element of that art.

IMPROVING ON TRADITION
Simonet’s silat concepts is not just another attempt to create a new art. Rather, it’s an objective approach to understanding a functional yet often overlooked traditional style. It’s also a means for all martial artists to experience and appreciate the Indonesian arts.
“Silat concepts is a complete and functional martial science, but I don’t expect people to abandon their current arts to study it,” Simonet says. “If a judo player who trains in silat concepts adopts our principles of angles and unbalancing, he may use silat to make his judo better. A wing chun practitioner might use our reinforced hand positions to strengthen his close-range blocks and punches. In this way, I hope to use it to promote a widespread appreciation of silat and motivate more people to explore the traditional Indonesian arts.”
It’s important to understand that silat concepts is not traditional serak, nor does it claim to be. It also does not adhere to many of that arts ancient practices. However, it does follow the most important tradition of serak, as established by its founder: overcoming adversity through research and diligent effort to develop an effective fighting system that matches the practitioner’s needs and attributes.

About the author: Michael Janich is a free-lance writer based in Boulder, Colorado. He has more than 29 years of martial arts experience and is one of America’s best—known knife-fighting experts. For more information about silat concepts, call Joseph Simonet at (509) 662-7983 or visit http://www.kifightingconcepts.com.

Supported Elbow Frame

Grappling
“Weapons of Mass Destruction”
By Joseph Simonet
January 2006
Pg 88-90, 127

If you are an MMA Fighter who wants a weapon that is versatile, simple and powerful, consider the Supported Elbow Frame.

I have trained in the martial arts since 1972. From the very beginning, my interest and/or motivation was to be able to defend myself and become a functional fighter. My journey of 30-plus years has been filled with highs, lows, injuries and triumphs.
Anyone who pursues the truth in the fighting arts ultimately will get his ego crushed and his hat handed to him on a regular basis. The karmic freight train is coming around the bend, and it’s coming for you.
I have experienced countless “reality bites” moments. One such moment occurred November 12, 1993 at McNichols Arena in Denver, Colorado. I found myself ringside at the Ultimate Fighting Championship. Being a veteran martial artist and holder of multiple black belts offered little solace as I stared into the face of reality.
“Oh, (bleep), I have to learn the ground”.
There I was, nearly 40, and immediately desperate to gain knowledge of the ground. My first opportunity was with the local high school wrestling team. I was allowed to train with the varsity heavyweights. It was a humble beginning as my pursuit of knowledge took yet another turn.
Since that fateful day, my training has become more refined and focused. My system of training has been organized into what I call “The Art and Science of Mook Jong” (ASMJ, wooden dummy training).
5 Ranges
It is widely accepted there are five ranges of unarmed combat: kicking, punching, trapping, clinch and grappling. “The Art and Science of Mook Jong” focuses on trapping and/or clinching range. The movements I utilize are essential ingredients distilled and extracted from preeminent martial arts systems such as kenpo karate, wing chun, silat, doce pares, tai chi, boxing and an eclectic ground game. I have discarded 90 percent of the techniques and training these arts had to offer. I felt most of the material just did not hold up in real fighting.
“The Art and Science of Mook Jong” is powered by a superior attitude. In the stand-up game, superior attitude defeats superior techniques. However, it is only when you add conditioning to the attitude and technique methodology that real success can be achieved.

The Supported Elbow Frame
The supported elbow frame is one of the most significant and essential weapons in the ASMJ arsenal. All MMA practitioners should train and utilize this weapon because of its versatility, simplicity, and power.
To create a supported elbow frame (1-4), start in a left lead, with your body leaning forward. Thrust your left elbow up until it is pointed into your opponent’s centerline. Cover your left ear with the palm of your hand. As this is happening, your right hand creates a frame by attaching to your left inside forearm near the elbow. This is the basic supported elbow frame.
It is imperative to established a lower art base. When executing the supported elbow, sink your base as you move forward to prepare for absorbing a powerful strike, such as a head-high roundhouse kick or a huge over hand punch.

Surviving the Big Punch
Distance is one key to using the supported elbow to survive the big punch. This forces my opponent to bridge the gap and commit to a big bomb. While standing just outside of punch range, I have allowed myself time to react to a big right hand (5-6).
As my opponent loads for the punch, I begin to sink my weight and move forward into his centerline. By creating the supported elbow frame, I have protected my head, neck and face, while solidifying my base. When my opponent makes contact, he is not prepared to hit such a solid target, which in turn disrupts his timing and base.
My left elbow also acts as an attack as I drive the point into his oncoming shoulder (7). Note my body position and/or base. I have successfully absorbed the big punch, bridged the gap, and disrupted his base, while attacking with an elbow point by entering into trapping range.

Wrap, Trap, Attack
After blocking his right punch, my left hand now circles counterclockwise to trap my opponent’s right arm above the elbow, while simultaneously striking his jaw with my right elbow (8). My left hand now attaches to my right biceps, which creates another support, adds striking power and hyperextends his right arm. I follow with a standing armbar on his right arm as I crash down on his collarbone or jaw (9).
I then hook my right hand around his neck as I jerk him into a right knew to the race, while still locking his right arm (10). I release my opponent’s left arm and proceed into a guillotine (11-13). I finish by sitting and falling back into guard position as I plant his face into the mat.
In developing fighting skills, simplicity and versatility of technique weighs heavy on value. It only makes sense to develop muscle memory and skill sets that work at all ranges.

Supported Elbow When Mounted
This next example begins from the mounted position. The attacker throws a big right punch. The defender on the bottom (14-15) prepares for impact with a supported left elbow frame. Once the punch is deflected and jammed (16), the defender wraps his opponent’s right arm with his left arm. Notice, this is exactly what was demonstrated in the stand-up version.
After wrapping the right arm, the defender strikes with his right hand and then reverses position. Note, the defender’s elbowlock and right hand position (17-18). If his opponent extends his hips to free up pressure on his face, he only adds more tension to his left elbow. The defender now applies more pressure, stretching the elbow joint and punishing the face (19). When tension reaches its peak, the defender releases his right hand for a downward elbow cut to the face (20).

Prevent the Rear Choke
When you find yourself mounted from the rear and your opponent is moving in for the kill (choke), the supported elbow frame may just save you from defeat. I can use the elbow frame to block my attacker’s attempts to put me in a choke. Essentially, I am tucking my chin, locking my arms, supporting my heard forward, and buying time.
Next, the attacker briefly aborts the choke attempt and decides to strike. I simply reverse my elbow position to my left side and block his strike. As a follow-up, I grab his left arm, extend it over my right shoulder and apply pressure with my head and body.

Developing Training Drills
Now that we have demonstrated the technical value of the supported elbow frame, let’s establish functional training drills as well. Begin by facing off in a fighting position wearing focus mitts or gloves. Have your partner throw big punches to your head as you counter with the supported elbow frame. This should be done on both sides. Add intensity and realism to the attacks as you get more comfortable with this drill. In other words, try to take his head off with huge powerful attacks. Make it real.
To follow up, feel free to add tie-ups with knew attacks. Be creative and intense.

Sticking and Contact Drills
Sensitivity drills are extremely important in “The Art and Science of Mook Jong.” Body contact is a key component in learning to listen to my opponent’s intent. For example, the next photo sequence will demonstrate a training drill guaranteed to develop muscle memory and body awareness.
Face off with a partner and begin the drill with your partner’s right punch and your left supported elbow frame counter. Now, wrap your partner’s right arm as you strike with your right hand while applying a lock with your left arm. Hook behind his head and applying a follow-up right knew to his midsection.
After your knee strike, plant your right foot back and let go of the lock. While this is happening, your partner throws a left punch. Repeat the same counter-sequence on the left side. This pattern should be repeated from side to side. To attain a higher and more intense level of training, include heavier contract that continues for the equivalent of two-minute rounds.
Linking drills is a challenging, essential aspect of sensitivity training. Repetition and body sticking will enhance every fighter’s skill level. After excusing the left knee, step forward with the same leg and begin the pummeling drill. Make sure to repeat on each side.

Skills Box
By now you should have gained a new insight and greater appreciation for the supported elbow frame. You will find its function to be an essential tool in your fighting skills box. When in doubt, train harder.