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AN INTERVIEW WITH MARTIAL ARTS WRITER AND FILM DIRECTOR BEY LOGAN

Daniel Drew

BEY Logan is a legend in the martial arts world. He was editor of Combat Magazine when it was the leading publication on fighting arts in the UK.

Since leaving the mag he moved to Hong Kong he works in the film industry, writes books on fight cinematography and makes documentaries.

Martial News' film and book reviewer Daniel Drew talks to Bey on his life immersed in the martial arts...

DANIEL: Thank you for taking time to talk to us Bey. If I could first start with how you got into martial arts, what systems have you trained in and what age were you when you first started?

Bey Logan: Like most people my age, I was introduced to martial arts by Bruce Lee movies and the 'Kung Fu' TV series. I've trained in many different arts over the years - Thai Boxing, Taekwondo, Kali, Wing Chun, Kickboxing - but my main styles now are Hung Gar and Chen Tai Chi. I was in my late teens when I started.

DL: Who was your first instructor and where was the classes held? What were they like as instructors, were they hard taskmasters and did they inspire you to go on with your martial arts career?

BEY: I started training in Lau Gar kung fu at a club based at Westgate Church
Hall in Peterborough. My first instructor was a guy named Nigel Thompson, I remember he looked just like the TV host Noel Edmonds. I remember he was a very diligent teacher. When we started learning the staff techniques, he said "The staff is like your brother", and I remember that phrase when I train with that weapon today. I think the traditional roots of this 'Lau Gar' are quite suspect, but it did give me a first taste of the Southern Chinese styles.

DL: What styles have you trained in and what system do you like the most and why?

BEY: As I mentioned, I've trained in various systems: most memorably Thai Boxing under Bob Spour, Taekwondo under Paul Donnelly, Wing Chun under Nino Bernardo, and many more styles and teachers in passing. I found they all had something to offer, and I value the experiences. My step-father, Goju Kai master Tino Ceberano, always says 'Its not art, its the man'. I found that Hung Gar is best suited to my temperament and body type, and I train most days, when I'm in town, Hong Kong, with my teacher Mak Chi-kong. I've also trained in Tai Chi with a great instructor named Ocean Hou.

DL: Who in the martial arts world, whether dead or alive, do you admire the most and why?

BEY: My teachers, Mak Sifu and How Shrfu, as well as the great Dan Inosanto, British martial arts pioneer Steve Morris, my late friend Shotokan master Steve Cattle, Hung Gar grandmaster Lam Jo, my 'dad' Tino Ceberano and, of course, the late, great Bruce Lee. There are many more, but these are the Invincible Eight for me!

DL: What was your best experience in martial arts?

BEY: Definitely the best experience of my martial arts career has been training with Mak Sifu. They say that, when the student is ready, the teacher will appear, and Mak Sifu appeared just the right time for me. He is such a detailed, patient teacher and has such a profound knowledge of his art. I'd like to think he's made me a better martial artist and man, but you'dhave to ask around on that one!.

DL: When did you become editor of Combat Magazine? How did you get the job and what was the job like to do? Did you enjoy your time at Combat? And what was it like to be the editor of such a famous magazine? What was the highlight of your time there? If you had your time again at the magazine what would you do different? Why did you leave?

BEY: I was in my early 20s when I got offered the editorship of 'Combat'. I was too young, in retrospect, I didn't really appreciate the power and responsibility of the position. I was a good writer and had a passion for the martial arts so I muddled through. There was a lot of 'politics' that I feel foul of. I enjoyed the first three years. I think three years is about right for any company where you don't have a stake in it: one year to learn the job, one year to do it well, one to get fed up with it. I think I overstayed my welcome at 'Combat'. I didn't think I could have a fun life or career if I left! The highlight of the job was definitely having direct access to legendary martial arts masters and the new generation of action stars. If I was starting the job now, I would walk more softly and carry a
bigger stick, to paraphrase Roosevelt, I would have organised the editorial team better... I decided to leave on the day I found myself interviewing the same man I'd interviewed when I joined the magazine. I realised that, if I stayed, my life would be on perpetual 'repeat', like a broken CD player, I wanted to start a movie magazine (Impact) and I wanted to make movies, and I did both, thankfully.

DL: Do you feel the modern MMA industry has had any effect on traditional martial arts? If so, in what way?

BEY: I greatly admire the athletes and trainers who participate in MMA. I've been to some shows here and been amazed by their power and athleticism. The downside is that MMA allows for none of the other aspects of the body-mind-spirit matrix that is at the heart of traditional martial arts. We're raising a generation of MMA athletes with the manners of professional wrestlers. More worryingly, this sport does not allow for the preservation of our own health, only for the destruction of someone else. All the abuse these fighters go through will mean an upcoming generation of 40 plus former MMA athletes with crippling lifelong injuries. I think that, as long as traditional martial arts prosper, there's plenty of room for MMA. I think the idea that MMA has somehow made traditional training obsolete is completely false.

DL: What prompted living in Hong Kong and how did you come about working in the film industry? What is your proudest achievement in that industry?

BEY: I first visited Hong Kong when I was 19, I'd been coming back and forward throughout my time at 'Combat'. I wanted to be somehow involved in the industry, but didn't know how. This wild and crazy guy named Mark Houghton somehow got the money together to make a film or, at least, as it turned out, a quarter of one, and asked me to come out to Hong Kong and help write and produce. It was utter chaos; they ran out of money, everyone fell out with each other. I was either going to stay in Hong Kong and make a go of it, or sneak off back to the UK with my tail between my legs. I guess I got lucky, and I've worked in every aspect of the local industry. My proudest achievements are my children, I take the film industry lightly by comparison!

DL: How much is there a disconnect between screen martial arts and real life martial arts? How does that effect public perception of the arts?

BEY: I think the biggest misconception is that real life martial arts is ever as pretty and elegant as it can be on the screen. In this sense, I think martial arts cinema is perhaps the purest expression of the artistic side of martial arts. The reality is inevitably more brutal and unattractive to any normal person. Having said that, these two strange flowers from the same tree, martial arts and martial arts movies, co-exist and actually feed each other. People who train in martial arts often like the movies; people who watch the films sometimes train in martial arts.

DL: Many stars in the east, such as Bruce Lee, Jackie Chan etc, have broken into the western market with varying success. Are there young performers today with such aspirations? What do you feel are main challenges in breaking into the western market? Likewise what are the challenges of someone from a western background in getting involved into eastern cinema?

BEY: The biggest problem for established Asian stars trying to break into the western market is that A list directors don't tend to want to work with them, largely because of the language barrier. There's also, still, a real lack of understanding on the part of American producers as to what audiences want from martial arts films. You see international attempts at the genre like 'Streetfighter' and 'Dragonball', and the producer is on the DVD going 'Oh, the action director always shows us a fight and its twice as long as it needs to be.' Actually, that's what you should be offering, because you're making a 'martial arts' movie. There have always been western performers and martial artists working in the Chinese industry, but its hard to be a star here unless you're, at least partly, ethnically Asian.

DL: What work goes into the audio commentary tracks on DVD/Blu-ray releases from the past few years? How much research, recording and editing goes into the process?

BEY: The short answer is: a lot. I'll watch the film in detail a couple of times, then work the 'phones and the Internet to find out as much as I can. The biggest problem commentaries have is that they run out of steam. Its happened to me! I think that aspect of the DVD and Blu Ray phenomenon, that there's a platform for this degree of detailed information, is great, but it needs to be better used by more informed participants, especially with regard to Asian films.

DL: Who are amongst your favourite people to have worked with over the years? What were you working on and what made the experience memorable?

BEY: There are so many. Let me name just five, if I can: Maggie Q, my partner in crime whose energy propelled me from a stale job and marriage into something better. She's a bright spirit who deserves every good thing. Donnie Yen, my brother in arms, without whom I wouldn't still be in the business. He's earned every ounce of success he's had in recent years. Jackie Chan, always Mr Nice Guy, on-screen and off. I did two documentaries, one of his starring features and three films he produced, and had the time of my life on all of them. Director Gordon Chan, even though 'Medallion' might not be a masterpiece! I learnt a lot from him, and he's since always been there when I've needed his advice and help. Last but not least, the great Elizabeth Yang, my partner in life and crime, the gentle guide for this rough beast...

DL: How does your practise of Buddhism integrate into your working life and martial arts practise?

BEY: I think Buddhism gives me a balance I wouldn't otherwise have. Its a daily
challenge to live as well as possible, like a true north that guides you home. There are deep shared roots between Buddhism and kung fu, and I try to combine the two in my practise. Its easy to get lost in all the arcane Buddhist practises, I just focus on the basics: do the best work you can every day, try to help everyone you meet, try to live a life of service, both to others and to the better angels of your own nature.

DL: What can you tell me about your novel "Blood Bond"? Where is it available to buy?

BEY: 'The Blood Bond' book came about as a result of my frustration that director Michael Biehn's version of the story was so different from my original script. I guess I could have just spent my time bitching away about how this character changed or this scene was different, but I thought I'd use it positively by writing the book. I just re-read it the other day, and I actually think its a pretty darn good first effort. You can order your signed copy of the 'Blood Bond' novel from exec@bxe-productions.com. I'm currently working on several further books, including a 'Blood Bond' sequel, a detective story, a book about my Bruce Lee experiences and a semi-autobiographical tome about my 36 favourite Hong Kong films and my experiences relating to them.

DL: Any rising stars we need to keep a look out for on our screens? Can you tell us about anything in the works at the moment? What is next for Bey Logan?

BEY: Obviously, I'm biased, but I think we have a great cast for my directorial debut, 'Snowblade'. I'm especially proud of our leading lady, Sable Yu, and I think she can do whatever she sets her talents to. There are a number of talented players on the Hong Kong scene who just need the right vehicle to take them to the next level: Andy On, Wu Jing, Jaycee Chan...As mentioned, I finally gave in and I'm directing my own film. It's a great experience, very challenging but also very rewarding. I've also launched a new company, Reel East, that sells genuine Hong Kong movie memorabilia.

DL: Finally, what advice can you give to anyone who has an interest in the eastern cinema experience but may not know where to look? Any recommended films or other media to give people a good taste of whats to offer? Any final words you would like to get out there?

BEY: In general, whatever you aspire to do in life, just get on with it! Figure out a way to make it happen. The only difference I can see between someone like me and someone who tells everyone he's a producer is that I actually produce films. If you can create, get one with it. Learn your craft, whether its acting or directing or writing, there are loads of resources now, on-line and elsewhere, far more that there were when I started. And if you come to Hong Kong, drop me a line and I'd be happy to meet you! Thanks to you and your readers for your interest and support.

DL: No, thank you Bey for giving up your time to do this interview we really appreciate it...

To go to Bey's blog site visit:

www.alivenotdead.com/beylogan/blog.html

To see more about the film Snowblade got to:

www.facebook.com/Snowblade-The-Movie

To see Bey's movie memorablia collection got to:

www.reeleast-collectibles.com/

A JOURNEY THROUGH A JAPANESE GARDEN

By David Macintyre
Of the Fudoshin Bukido Traditional Weapons Club

When you think of a Japanese Garden what springs to mind? Bonsai’s, Koi, Bamboo, them temple shriney things…. did I mention bonsai’s!!!!

That was my thoughts as I had never visited one before but I was about to have my eyes well and truly opened as we had arranged to go one the guided tour of the Tatton Park Japanese Garden.

The garden was made after Alan de Tatton, the owner of Tatton Estate visited the Anglo-Japanese Exhibition in White City, London back in 1910 and got the inspiration from there. He decided in the private family garden he would have a team build a Japanese themed garden along side his western themed gardens. The location was to be on a small island, which was in the middle of his small lake. Work took place and the garden was completed and enjoyed by the family but unfortunately the garden was not kept correctly looked after and was left.

In 2001 the garden was restored with money from Cheshire Council and the National Heritage on the conditions that it was restored to how it was originally. Work was carried out and plans of the old garden were followed to bring the garden back to life.

To enter the garden you have to cross a rustic bridge, which was made from Japanese cedar from the trees, this bridge has a steel skeleton as it had to be re-enforced to get machinery onto the island for the renovation but was then coated in the original cedar. Once on the island you first see that is very well kept. There is star grass on the floor with white stones and large rocks on the white stones. There are also very tightly clipped bushes. The star grass represents the earth, the white stones the sky and the rocks are clouds. There is also a cedar tree, which the branches have been pinned to grow out straight, this represents a ladder for the spirits to climb down and sit on the bushes.

You then follow the path around and are then meet with a ‘Torri Gate’ which originally was very high and was a place that the farmers could have there chickens perch, it then became known as a gate to important places to is place near shrines. The gate in the garden has be made quite low so you must bow your head in respect to enter the garden. Once through the gate you then arrive at the Shinto Shrine. The shrine is made of Japanese cedar again and is a ‘homing’ place for spirits to visit. It is very basic inside as it was not supposed to be for humans. The shine pictured is 100 years old and the wood has never been treated. The only damage you’ll see was caused by the heavy snowfall we had back in 2009.

Next to the shrine is a ‘Inari’ fox. Inari is the god of rice and food and would be placed there to bless the people that they would never go hungry. The fox also wore a red bib, which stopped any evil forces on making children ill. They would usually come in pairs but because the garden only had one at the shrine originally it has to remain that way. We then crossed the river via the ‘Almond Eye Bridge’ that is named due to its reflection in the water, which looks like an eye. The bridges were made like this so any intruders on horseback would have to dismount as the horse couldn’t cross due to the steep angle leaving the rider weakened, also any archers would not be able to fire at a person fleeing over the far size of the bridge due to the angle of the arch.

Once across the bridge you arrive at the waiting pavilion. Here you would wash away any bad thoughts using the washbasins and would wait for the tea to be prepared. The more important a guest was, the longer they would be asked to wait! The garden would also be ‘wetted’ as it said to look nicer when wet. From there you would follow the path down towards the teahouse but you would see a crane and its partner. This was a sign of maturity and added 1000 years to the garden.

Along the path was another small bridge which was in the shape of a bird in flight, it was said that if you ever wanted to escape the devil then to cross the bridge as he could only travel in straight lines and would fall into the water. The path again was covered in white stones as before but with closely placed stepping-stones. These stones were close together to allow the person slowly walk and enjoy the garden’s scenery but every now and again to longer stones would be placed as a sign to the person to stop and enjoy the view.

You then arrived at the teahouse where you would lay your weapons at the door on the long stones, as it was a sign of peace and enjoy your tea. This ceremony may take hours and the first cup of tea would always be discarded to show that there is no sign of poisoning. The water used to make the tea would be sourced from the streams running in the garden and collected with the bucket pictured. In the teahouse itself it would only have one window, which faces the east (the rising sun) and would also look onto the Shinto Shrine.

At the back of the teahouse was a turtle, this would be placed in the water facing upstream and denotes the path that life takes sometimes but to continue with your quest and as the turtle we will conquer our problems. The turtle again denotes maturity and age to a garden. Next to the turtle was a stream of youthfulness. It was said that if your drink from here you will turn back the years but if you drink too much you will become a baby so be careful!

All the way through the gardens were lanterns; these were a very important part not only for light but their aesthetical appeal. They would be designed to give out light but also hold as much snow on top as possible. There was also a frog lantern, which is said to bring the person who touches the frog good luck and that they will return to the garden again in the future.

I never knew so much thought, planning, details and meaning went into designing a garden but it opened my eyes. I’ll take this in mind when I’m next at my local DIY store buying a shed!

It is somewhere I will be defiantly visiting again.

For further information on Kobudo and David's club phone: 07977 014540

Or visit:

fudoshin-bukido-kobudo-traditional-weapons-club

Wing Chun Kung Fu – Kicking Techniques

By Sifu John Agar

IT is a misconception of many to think that the Wing Chun style of Kung Fu to depend primarily on the use of hand techniques, this of course could not be further from the truth.

A good Wing Chun practitioner relies on a good balance of both the use of hand and food techniques to be at their most effective.

These can be used separately of course utilising either hand or foot techniques depending on the circumstances but can also be used together.

It is therefore not uncommon to see a Wing Chun Practitioner to perform a simultaneous pull kick and punch all at the same time.

We have a saying in Wing Chun with regards to our kicks – ‘Mo Ying Gurk’ which can be translated as ‘Invisible Kicks’ in English. The meaning of this is that our opponent should only feel the kick and never even see it coming.

The invisible kick can be achieved in two different ways. The first way is to distract your opponent with a high line attack using your hands and then use a kicking technique from close range so they don’t see it coming. The second method is a simultaneous kick and punch. Please refer to pics 1, 2 and 3 below as an example of this.

Invisible Kick Application

Pic 1a – Sifu Agar and defender square up opposite each other

Pic 1b – Sifu Agar throws a straight punch, his opponent throws up his hands to defend himself

Pic 1c – Sifu Agar pulls down on his opponents guard hand performing a simultaneous kick and punch, the opponent doesn’t see the kick coming due to being distracted by the high line attack. Even if he manages to block the punch he still gets hit with the kick!

Wing Chun Kicks
There are several ways in Wing Chun in which you can apply your kicking techniques. You can perform them from long range with your rear leg as an attacking technique; from close range using your lead leg using a pull on at the same time to increase the power of your kick and you can also use the lead lead in a more defensive, counter attacking method.

We use these counter attacking techniques in Wing Chun in the method of a very practical stop kick. The beauty of the stop kick is that you use the combination of a simultaneous block and kick at the same time. Please note that once the stop kick has been performed that you would quickly follow it up with another attacking technique to help finish your opponent. Below is a series of three stop kicks as an example of the simultaneous block and kick principle.

Stop Kicks

Pic 2a – Pak Sau (slapping block) and low line shin kick

Pic 2b – Tan Sau (palm up block) and mid level front kick

Pic 2c – Bong Sau (wing arm block) and low level side kick

Stop Kicks - Practical Application

Pic 4a – Pak Sau – Shin Kick

Pic 4b – Tan Sau – Front Kick

Pic 4c – Bong Sau – Side Kick

The photo’s above show the correct way to execute the simultaneous block and kick principle. In photo’s 4a the Pak Sau should block across the body from shoulder to shoulder at a forward angle and the low kick should go straight forward striking just above the knee. In photo’s 4b the Tan Sau should thrust forward turning the palm up on contact with the oncoming punch and the kick should be directed straight to the stomach. In photo’s 4c the Bong Sau should be used as if you were leaning away from the oncoming punch spot your target and kick anywhere from above the knee to hip level. The Bong Sau if there as extra insurance to protect you.

Chi Gerk (Sticking Legs)
The most advanced use of the leg techniques in Wing Chun is called Chi Gerk or sticking legs. The idea behind this is that it is better to try whenever possible to try to use your legs to defend yourself against your opponents kicking techniques. This leaves your hands free for a fast and effective counter attack. There are several Chi Gerk exercises in Wing Chun to help you develop this but unfortunately I don’t have the space to go into this in great detail however I wanted to make sure that it was mentioned as part of this article. I have put together a short sequence of movements to illustrate the principle of one of our applications of the principle of Chi Gerk.

Pic 5a - attacker and Sifu Agar square up opposite each other

Pic 5b – attacker launches a mid level front kick, Sifu Agar leans back slightly and intercepts the kick with his lead leg and redirects it off to one side with Bong Gerk (inside leg block)

Pic 5c – Sifu Agar counter attacks to the attacker’s knee with a side kick to destroy his structure

Pic 5d – Sifu Agar then follows this up with a high line attack in the form of a straight punch to his opponents chin to finish him

About the Author

Sifu John Agar is a professional Wing Chun instructor based in the North East of England. He has been teaching the art of Wing Chun Kung Fu for a period of over 30 years. He has recently formed his own Martial Arts film production company and has to date produced a series of 5 affordable Wing Chun Kung Fu videos. Four of these are aimed at the complete beginner focusing on the First Form Siu Lim Tao and the core techniques of Wing Chun to build a good foundation. He has also recently added a fifth video based around the second form in the system Chum Kiu. These can be downloaded straight to your home computer from his web site at:

www.martialartsinstructionalvideos.co.uk

Sifu Agar can be contacted on 0191 4100613 or by e-mail at:

sifujohnagar@tiscali.co.uk

For further information on Sifu Agar or any of his classes/private lessons then please visit:

www.johnagarwingchun.co.uk

Wing Chun Kung Fu – The Importance of Forms

By Sifu John Agar

IN this article I would like to talk about the importance of forms practice. Recently I received an email from someone who had downloaded my series of beginner videos.

He asked if it would be possible for him to learn Wing Chun without having to learn the forms. I informed him that in my opinion that no, it was not possible to learn the Wing Chun system without learning the forms.

My reason for this was that in Wing Chun your forms are a big part of what makes up the system, the building blocks so to speak. Without the forms there is no Wing Chun as Wing Chun is made up from the movements and principles contained within the forms.

I would like to give you a few practical application examples that I have taken from the second form in the Wing Chun system, Chum Kiu – the seeking the bridge form. Hopefully this will give you an idea of just how important the forms are when applied against a would be attacker. Below we have a sequence of seven movements taken from Chum Kiu.

Pic 1a – Double Arm Pierce Pic 1b – Turning Arm Bar

Pic 1c – Straight Punch Pic 1d – Elbow Hack

Pic 1e – Palm Strike Pic 1F – Pinning Hand

Pic 1g – Rising Punch

Please note that the forms in Wing Chun are quite different from those practiced in other Martial Arts. For example the Wing Chun forms are made up of principles and teach theories not just techniques. They teach principles like the centreline theory, correct elbow positioning, stance training, body unity and correct breathing. This is different to other arts which step in various directions applying movements against imaginary opponents. Below I have put together a small number of practical self defence applications taken from the forms movements from photo’s one to seven above.

Sequence One

Pic 2a – Opponents face each other at a table Pic 2b – Attacker stands and tries to grab

Pic 2c – Defender uses the double arm piercing Pic 2d – and pulls the attacker face first into table

In the sequence above we have taken an example of two people sitting at a table. The attacker lunges forward in an attempt to grab the defender. In order to stop the attacker from getting a good hold on them the defender performs the double arm piercing movement, which could also strike the defender in the eyes, this is then immediately followed by a double neck grab and allows the defender to smash the attacker's head into the table below.

Sequence Two

Pic 3a – Attacker threatens with a punch Pic 3b – Defender turns with a bar arm

Pic 3c – Defender grabs the attackers arm and pulls and punches the attacker

In this next sequence I would like you to appreciate just how practical this technique really is. For example this technique can be applied in an area such as a crowded bar where you may not have room to move. The key points to note here are that when you turn to face your attacker your arm should be held horizontally in front of your chest to act in a way to act a little bit like that of a shield (Lan Sau – bar arm). Your feet should be approximately shoulder width apart to ensure that your stance (structure) is strong enough to withstand any forward pressure, even though this would only be needed for a split second. Your other hand (Wu Sau – protecting hand) should immediately follow your Lan Sau to add a second barrier of defence. From this position you will be able to grab the attackers arm and apply a simultaneous grab, pull and straight punch.

Sequence Three

Attacker grabs defender's and threatens a punch Defender steps back and hyper-extends the attacker's elbow joint

Pic 4c – Defender follows up by trapping the attackers hand and palm strikes the attackers face

This defence is an application straight out of the form. In the form the arm break is performed three times and then followed up with three palm strikes. This arm break or hyper extension of the elbow joint is really effective in this instance. The defender takes a step back to help straighten the attackers arm fully to help wrench the elbow when the technique is performed. The palm strike is a good natural follow up and is fired straight down the centre line while trapping the attacker’s hand.

About the author – Sifu John Agar is a professional Wing Chun instructor based in the North East of England. He has been teaching the art of Wing Chun Kung Fu for a period of over 30 years. He has recently formed his own Martial Arts film production company and has to date produced a series of five affordable Wing Chun Kung Fu videos. Four of these are aimed at the complete beginner focusing on the First Form Siu Lim Tao and the core techniques of Wing Chun to build a good foundation. He has also recently added a fifth video based around the second form in the system Chum Kiu. These can be downloaded straight to your home computer from his web site at

www.martialartsinstructionalvideos.co.uk

Sifu Agar can be contacted on: 0191 4100613

Or email:

sifujohnagar@tiscali.co.uk

TECHNIQUE OF THE MONTH

By Anton with Emil Stefanov – Ranchev MMA and Judo, Stara Zagora, Bulgaria

Firstly I’d like to apologise about the quality of the photos but I had to get them as clips from the video.

It’s very important to keep tight a hold of your opponent for this move at all the times.

Grab tight hold of the opponents Gi (left stance), one hand just above the elbow and the other on the lapel.

Lunging forward with the front leg (left), taking it between the opponents and try to hook his right leg up. Keep tight a hold pulling him towards you and trying to turn/twist him at the same time.

He counters this by stepping back with his right leg to avoid the take down. Put down your left and bring the right leg up behind you so you are almost side ways on to your opponent.

Put your right foot down and move your left foot on the outside of your opponents right, get your hip as close as you can to him whilst pulling/twisting them over.

Keep good control of him to make sure he lands at your feet.

When there on the ground and you have good control, take your right leg over the head (still keeping tight a hold).

Take your left leg over and sit back pulling there arm tight against your chest

Its important to keep them close to you at all times whilst applying the arm bar.

There are various ways to apply the pressure on the arm and where to put your feet. I suggest you try various positions and to apply extra pressure you can push your hips up whilst keeping the arm down tight on your chest.

Always be careful whilst applying pressure on joints.

Give it a go and enjoy.

APRIL EDITION - HALF-PRICE CLUB ADVERTING

TECHNIQUE OF THE MONTH

Rolling into a knee bar

By Emil Stefano and Darren Currah

KNEE Bar - demonstrated by Emil Stefanov, Chef Instructor of the Judo, Sambo and MMA club in Stara Zagora, Bulgaria.

This technique can be done from various hold positions, just for practice if you get a partner roughly your own size and weight you will find t easier at first. This can be done without a Gi but is more difficult, so practice with one first.

If attacker leads with the right leg and the defender puts their left leg forward. Put your right arm over the defender's left shoulder and grab the gi as far down their back as you can.

The attacker moves is with his right foot between the defender's legs and places his right hip against the defender's left hip (turn your back to defender). Pull the defender over with your right arm and bend over to grab the behind the defender's left ankle with your left hand.

Roll forward in a tight circle and make sure you tuck your chin in. At the same time pulling with your right arm and lifting the defender with your right leg, keeping tight a hold of his left leg.

Keep his leg close to your chest with both hands and try to cross our legs over his as you roll.

Cross your legs tight and garb his heel and pull it to your chest. To make the technique more effective, push your hips up.

As a variant you can put his foot under your armpit taking the leg across the hip.

MARCH EDITION - HALF-PRICE CLUB ADVERTING

TECHNIQUE OF THE MONTH

Ninjutsu Kamaes

(Also see Feature Three for applications)

By John Atkin pics by Phil Doherty

In this first of a double feature, John Atkin of the Advanced Fighting Centre, Newcastle, demonstrates the basic Kamae kata found in Ninjutsu.

Applications for Shizen, Ichimonji, Doko and Hicho no kamaes can be found in feature two.

John is a 9th Dan Bujinkan Taijutsu (Ninjutsu) exponent who has trained in the art since his teens.

He teaches Bujinkan Taijutsu at the Advanced Fighting Centre, High Bridge Street, Newcastle.

In Ninjutsu there is a form that takes the practioner through the basic kamae of Tai-jutsu. The kamae are multi-functional and many different attacks and defences can be launched from them.

Start in Shizen (natural stance). Step forward with your left leg and then back into
Ichimonji No Kamae (First receiving stance)...

Then step slightly off to the right with your right leg into Doko No Kamae (Angry Tiger
stance). Bring your right leg forward and then your left foot to to below the knee into
Hicho No Kamae (one-legged stance)...

Step forward with your left leg and back with your right foot into Kosei No Kamae (Attacking Stance) and then shift weight back slightly into Jimonji Kumite No Kamae (fighting stance)...

then step forward with your right foot and slightly back with your left into Jimonji
Kihon No Kamae...

then turn into Hidari Ihen Kamae and then Migi Ihen Kamae (Uncommon stance)...

into Hira No Kamae and step back right foot into Hira Ichimonji No Kamae...

step forward into Hoko No Kamae (Angry Bear stance)...into Kongo Gassho...

Kneel into Seiza then move your right leg out in Suwari Gata (sit on foot stance)...

into Fundoza into Seiza...

and then up into Shizen...

Image care of www.bujinkancornwall.co.uk

The Advanced Fighting Centre teaches Bujinkan Ninjutsu on:

Wednesday: Ninjutsu Beginners 6pm - 7pm; Ninjutsu7pm to 8.30pm; Weapons 8.30pm - 9.15pm
Thursday: Ninjutsu 6.30pm - 7.30pm
Friday: Ninjutsu 6pm - 7.30pm
Saturday: Kids (Tiger) Ninjutsu 12pm - 12.30pm; Kids (Dragon) Ninjutsu; 12.30pm - 1.15pm
Sunday: Ninjutsu Noon - 1.30pm

Private lessons also available

Phone: 07876 043480

Email: johnatkin24@btinternet.com
visit: www.advancedfighting. co.uk

CAGE FIGHT NIGHT AT THE ALNWICK GARDEN

DFM Martial Arts presents its Cage Fight Night at The Alnwick Garden

The event will feature some of the top MMA and kickboxing clubs in the region in an explosive night of non-stop action

There will be pro, semi-pro and amateur MMA
and
full-contact and semi-contact K - 1 and kicboxing

Book your ticket
by phoning the Ticket Hotline on 0191 4401368

The event is sponsored by Martial News

LAST MONTH'S EDITION - SEPTEMBER - SUBSCRIBE FOR FREE

ELBOW ENTRIES

By Steve Maclaughlan, Phil Doherty and pics by Lisa Williams

THE elbow is one of the best weapons on the human body.

It is hard, strong and can deliver devastating blows to an opponent that can knock
him clean out or cause him serious damage.

Directional Fighting Method instructor Phil Doherty demonstrates two very simple
elbow entries and explains the principles behind them.

These movements use the Eight Angles of Evasion and Flinch, one of the smaller
components of fight and flight.

As with all movements in DFM the block and strike flow into one another so the
block then becomes the strike. These movements are not done in a one, two, three
fashion but rather flow very quickly so the opponent cannot recover from the initial
contact.

For safety sake - because elbows can be very dangerous - Phil has had to exercise
control and pose for these shots.

FIRST ENTRY - SURRENDER ENTRY-ELBOW

Both movements start from the position shown above.

Steve, the attacker, throws a swinging roundhouse punch.

Phil angles INTO the punch meeting the force with and equal force using a surrender entry-elbow while using the momentum of the block to elbow Steve in the face.

In the above picture from the other side you can see that Phil hasn't waited until Steve's punch gained momentum. Instead he stepped into it and CLOSED it down.

Phil also used his energy to change the punch's trajectory. He knocked the arm slightly down below his head line. If Steve is (And he is!) really strong and big the blow may keep coming despite Phil aggressive use of Flinch. By knocking it down slightly, even if this happens it will strike Phil's and not his head.

Phil then uses the hip torsion from the first elbow to swing back the other way and strike Steve on the side of his jaw. Note that Phil's right arm is up so he can block Steve's left fist. Also that Phil has put his body weight into this second strike by stepping towards the picture with his right foot slightly.

Phil then finishes Steve with an upper elbow to the jaw. Because Phil stepped slightly with his right foot forward (last pic) he is now in the perfgect position for an upper elbow...

SECOND ENTRY- COVERNG ELBOW ENTRY

This starts exactly the same a the above sequence.

As Steve throws the roundhouse punch Phil angles into the punch raising his elbow
high and covering his head. Again this is a natural Flinch movement that protects the
face.
Phil's elbow is higher than Steve's arm...

...which allows Phil to capture Steve's punch while simultaneously knocking it off its
trajectory. As Phil begins to bagpipe (bringing the elbow down to his side) Steve's
punching arm becomes trapped while...

Phil uses the bagpipe motion to elbow him in the face with the other arm. Again this
is all one flowing action. The angle of this elbow also provides Phil with defensive cover.

A look from the other side. Note how Phil's left arm has Steve's punching arm trapped
and how the elbow is not only attacking Steve's face but also his balance. Again note
the defensive cover from the right arm.

Phil then flows into the side elbow, his right arm poised against Steve's left fist in need
be. Again Phil stepped slightly toward the camera with his right foot.

Phil then switches into an upper elbow to the chin while cover Steve's right arm with
his his left hand.

The main principle is to step into the punch and smother its momentum while striking.

The flow component is one begets another rather than one, two, three. So block flows
into elbow which flows into elbow etc.

You should use your body and hips to put power into the elbows rather than trying to
make the elbows strong by tensing. Its speed times mass that equals power.

The elbow is a good self-defence tool at close up ranges and in many ways is superior
to a fist (There is always the danger that if you use your fist you could break a knuckle
orfinger etc).

It is also a good technique to use for woman because their wider hip base can generate
a lot of power and combined with its hard hitting area the elbow an be an equaliser for a woman trying to defend herself against a man, or larger woman.

Many other techniques can be applied from these simple elbow entries including axe strikes (chop), hammer punches and vertical arm bars etc...

But you have to commit to the entry and you have to close the attacker's punch down before it gains momentum. In others words FLINCH into it and not away. This closes the gap where an elbow becomes powerful. It also takes the initiative away from the attacker and is surprising...

The movements provide good defensive cover as well.

Remember - if he's still standing after three elbows to the jaw...run!

To learn more about DFM visit: www.dfmmartialarts.co.uk

Or email Phil: phil.doherty@martialnews.co.uk

CAGE FIGHT NIGHT AT THE ALNWICK GARDEN

Book your ticket
by phoning the Ticket Hotline on 0191 4401368

The event is sponsored by Martial News

LAST MONTH'S EDITION - AUGUST - SUBSCRIBE FOR FREE

SHOOT DEFENCES

By Steve Maclaughlan, Phil Doherty and vid by Mike Simpson

WITH Mixed Martial Arts becoming ever more popular there is an increased risk that street thugs will start aping some of the moves when committing violence on the streets.

And the last place you want to be in street is on the ground.

Despite what some MMA people think - cage fighting is NOT self-defence. It is NOT the ultimate in defending yourself against street thugs because it has rules and has a different purpose to self-protection.

Its a sport with a referee, a soft landing surface and a partner who will respond with pre-set notions and motions...which why you often see MMA fighters accept the shoot and then deal with it on the ground.

But as the Gracies have pointed out on many occasions and in their books, ground fighting is NOT an answer to fighting MULTIPLE opponents. In fact its positively dangerous!

Also, the ground can be a very unforgiving place. Most people who die in street fights are killed because they hit their head on the pavement after being knocked down by a punch or thrown over (these are referred to as "one punch deaths").

That, of course, doesn't mean that MMA doesn't have techniques that CAN be used in self-defence, yes it does. It also has many other attributes that can be used to defend yourself, such as being able to withstand pressure, good striking skills etc.

Here DFM instructor Phil Doherty demonstrates some very basic defences against a shoot in that don't need the defender to go to the ground.

These are techniques that can be used against an attacker on the street who is APING MMA shooting in but doesn't have either the skill or knowledge to execute it correctly.

Pic One: Here an argument has already turned into a serious confrontation with both the attacker and defender raising their fists.

Never let an opponent get too close to you but always seek to maintain the Reaction Gap (the space and distance between yourself and an attacker that allows you to react in TIME to another's movements).

Pic Two: The attacker suddenly lunges forward in an attempt to use a double-leg takedown.

If Phil stays on the line of the attack there is a good chance the attacker's forward momentum will catch Phil and he will be taken to the ground.

Instead, as soon as the attacker shoots in Phil steps with left foot then pivots out with his right foot. At the same time he uses a powerful down block to stretch the attacker's right arm away from his left leg.

This is crucial - otherwise the attacker will manage to grab the left leg and could turn the double leg takedown into a single leg shoot.

By Angling off you put the attacker at a disadvantage. Phil the punches the attacker with his right hand.
Targets include side of the jaw, temple and side of the neck...

Pic three: Phil then stretches the attacker's right arm up while simultaneously shooting his right hand across the back of the attacker's neck (nape). You MUST stretch his arm upwards to avoid entanglement.

Pic Four: Phil then knees the attacker. This technique is one continuous flow and is not done in one, two, three individual movements...one thing begets the other in a flowing action.

From the position Phil now has a number of possible follow-ups...such as kicking the opponent between the legs with his shin (DFM doesn't use the foot to kick the groin but the shin), or a head roll takedown...

TECHNIQUE TWO:
This is a very simple defence that works well against some one who attempts a shoot but doesn't have the real skills to make it truly effective - in other words, some one aping moves they have seen on TV but have never really practiced.

It is NOT just a case of putting your hand outs and stopping the attacker's head and body coming forward. It is a strike - a disruption - to the forehead.

If the untrained attacker foolishly has his chin up instead of tucking it down - then you strike to both eyes with the palms as he comes in.

You must keep maintaining the gap between your attacker's arms and your legs so he can't get an effective grip on you.

Pic Five: Here Phil moves backwards with his legs and strikes the attacker in both eyes with double palm strikes.

Note how Phil can strike the attacker, but the opponent can't reach Phil's legs. Even a strike with both palms to the forehead disrupts an attacker's intent - its the shock.

If you don't hear a slapping noise when you employ this you are not doing it with enough force. If that is the case the attacker will plow through it. You must strike with the intention of arresting his forward momentum by thrusting the hands outward while scooting your legs away.

Pic Six: Because your hands are already on his head you can slip them to the rear and knee him in the face.

If you do this correctly the opponent doesn't see the knee until its too late (this is especially true if you strike both his eyes!). Once you've kneed him in the face snap the right leg back, out of the way of his hands.

Then RUN AWAY...this is not a competition with nice, shiny plastic trophies. Its real violence...

Sensei Phil Doherty is a senior instructor with the DFM Martial Arts group which teaches street combat, mixed martial arts and kickboxing.

His specialty is Directional Fighting Method - a street combat system that teaches how to fight using the basic elements: stand up striking, locks and takedown and stand up and ground fighting with the emphasis on street self-defence.

DFM also teaches how to defend against and use weapons such as the knife, sword, staff, double sticks, guns and much much more.

He is also the managing director of DFM Self-protection Ltd and Editor of Martial News.

His assistant Steve Maclaughlan is an instructor in Directional Fighting Method and kickboxing, and trains in mixed martial arts.

To find out more about DFM Martial Arts and Directional Fighting Method visit: www.dfmmartialarts.co.uk

Or email phil.doherty@martialnews.co.uk

LAST MONTH'S EDITION - JULY - SUBSCRIBE FOR FREE

TECHNIQUE OF THE MONTH

The Triangle Choke

By Steve Maclaughlan and Rob Currah

With DFM Reivers MMA Club Head Coach Rob Currah and assistant Dave Brown.

TO practice The Triangle Choke start from a ground guard.

To fully understand any technique the first thing to do is get comfortable with the movements, drilling them over and over again so it becomes instinctive and flows with without unnecessary delay.

The Trangle Choke is technically a strangling technique as it constricts bloods to and from the brain causing unconsciousness and, if applied too long, death.
Always agree before hand to have a signal that you partner will do if it needs to be released immediately.

The traditional 'Tap Out', where you slap the group of your partner more than three times is the best signal as it still tells the defender to release even if he can't see your hand (he will hear or feel it).

(Caption): Start from the closed guard when first learning the Triangle Choke. The closed guard is one of the best positions to try a Triangle Choke because of the control you can exert on the attacker's body as you begin to trap his arms. It is also the most likely ground position you will be in when looking to use a Triangle as a counter.

(Caption): Scoot your hips out a bit to create space...

(Caption): ...trap his arms and begin to bring the right leg over while pushing his left hand into the gap. This allows you clear the way the leg wrapping around the neck. Note that the right arm is pinned at the wrist to Rob's chest. The Triangle is a great counter to being stacked because the opponent helps your hooking leg into position (nice) as he stacks it onto his shoulder...

(Caption): Turn sideways slightly...this increases the pressure when you apply the choke. Note that Rob has hooked his leg over Dave's neck while pulling his right arm through while maintaining a good pin.

(Caption): Rob quickly brings his other leg up and slips it over his right leg. Note that Rob is reaching at the same time to grab his right leg with his left hand...

(Caption): ...and then pulls his ankle into the crease of his other knee. This completely traps Dave in a triangle shape where pressure is applied by the legs and the opponent's own arm and shoulder

(Caption): To finish him off quickly thrust the hips upward, pull the knees and thighs inward and pull his head downwards. The opponent will lose consciousness within seconds if the triangle is tight and applied correctly.

When practising this technique release as soon as your partner taps submission. More than few seconds squeezing can be dangerous.

The Triangle Choke is a very powerful and versatile choke that can be done from various positions including: the closed and open guards; the mount; across side.

There are also other types of Triangles such as rear; reverse and side triangles.
The common element in all Triangles is that the legs are in a figure four pattern that makers a triangular shape around both the shoulder and head.

This produces a very efficient stangling submission if applied correctly. It’s not easy to defend if done quickly and difficult to get out of when the trap shuts.
Triangle Choke from the guard position is a good counter to being stacked.

Mixed Martial Arts - Kail

Jeet Kune Do - Self-defence

56 Falsgrave Road Scarborough

contact: Barry Moran 07847 963262

Zanshin Aikido
Sunderland University
Sundays 6 to 8pm
and Fridays 7 to 9pm The new Cityspace Centre Chester Road Campus Chester Road psethp@yahoo.co.uk
www.zanshinaikido.co.uk0191 5226294

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There’s so much more to explore at The Alnwick Garden.
Acres of fascinating plants, water sculptures
and our infamous Poison Garden, for a start.
Not to mention one of the world’s largest wooden
tree houses.
There really is something to enjoy on every one of

the 364 days a year that we’re open, including creative
performances and tours, hands-on workshops,
fabulous local food and inspirational gifts from
Northumberland.
It’s a wonderful garden, and an even better day out.
Entry Fee
Adult Single Ticket: £10
Concessionary Ticket: £7.50
Child's Single Ticket: 1p
Opening Times
Summer: 10am to 6pm
Winter: 10am to 4pm
01665 511350

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phone 0191 4249977

Courses for Martial Artists
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