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Richard_Bustillo_sinawali_276pxby Raymond Horwitz
Photo by Robert Reiff – March 10, 2014

Stick-fighting expert Richard Bustillo demonstrates sinawali for Black Belt magazine.Richard Bustillo is a first-generation student of jeet kune do founder Bruce Lee. Inducted into the Black Belt Hall of Fame as the 1989 Co-Instructor of the Year, Bustillo has devoted much of his life to preserving and propagating the teachings of his late master.

A longtime practitioner of boxing, Thai boxing, escrima, kajukenbo, wrestling, jujitsu, tai chi chuan and silat, Bustillo has evolved his own version of the Bruce Lee fighting style and jeet kune do techniques — as well as the other martial arts he has studied in-depth and continues to teach — at his IMB Academy in Torrance, California.

In this exclusive new footage shot at the Black Belt magazine photo studios, Bustillo demonstrates sinawali and how these stick-fighting techniques can translate into empty-hand fighting techniques!

SINAWALI/EMPTY-HAND FIGHTING VIDEO
A Stick-Fighting Master Demonstrates the Relationship Between Sinawali and Empty-Hand Fighting

“This is the Filipino art of sinawali — double sticks — which is going to be transposed to empty-hand [techniques],” the legendary stick-fighting master says. “You can defend with sticks and tie it up to end up in a throw. The weapons training is to coordinate the empty-hand [moves]. The weapons is just an extension of the limb.”

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Scott_Sonnon_kettlebell_150px-OPT1Written By Raymond Horwitz

Scott Sonnon Shows You Kettlebell Routines and Other MMA Workouts (Including Clubbells!)
One minute you’re in a striking match. Then you’re trading kicks before your opponent shoots in for a takedown.

Now you’re on the ground, using every ounce of strength to keep him from getting the submission!

Can you get out of it and turn the tables?

Your overall conditioning, rather than any specific fighting skill, may dictate your chances!

This is where consultation with an MMA conditioning specialist and regular engagement in MMA workouts would have come in handy — had you started the regimen months ago, of course.
If today’s the day to start, there are, of course, many options for MMA workouts at gyms, in books — even online.

But rarely would your MMA workouts be as thoroughly instructed for maximum MMA conditioning as they are in Scott Sonnon’s exhaustive (and exhausting!) Ultimate Conditioning DVD/video-download series.

Three previews from this MMA conditioning series follow, showing brief excerpts from far-more-elaborate MMA conditioning programs geared specifically toward strikers, ground fighters and kickers and using everything from kettlebell routines to sandbags and Clubbells!

MMA WORKOUTS/KETTLEBELL ROUTINES VIDEO
Scott Sonnon Coaches You Through the Kettlebell Push Press

Ultimate Conditioning — Volume 1: Strikers includes a structured selection of guided workouts that use bodyweight, kettlebell routines, medicine balls and Clubbells to improve upper-body strength, overall endurance and striking ferocity!

MMA WORKOUTS VIDEO: USING CLUBBELLS® FOR MMA CONDITIONING
Scott Sonnon Coaches You Through the Deck Squat/Diagonal Crunch Using Clubbells

Ultimate Conditioning — Volume 2: Ground Fighters includes a variety of workouts designed to use bodyweight, sandbags, kettlebell routines and Clubbells to improve core strength and grappling skills.

MMA WORKOUTS VIDEO: HOW TO USE BODYWEIGHT FOR MMA CONDITIONING
Scott Sonnon Coaches You Through the Jump Switch

Ultimate Conditioning — Volume 3: Kickers features Scott Sonnen’s guided workouts using plyometric boxes, sandbags, bodyweight and Clubbells to improve leg strength, lower-body endurance and kicking skills.

More About Kettlebell Routines Expert and Clubbells Inventor Scott Sonnon

Multi-sport national and international champion Scott Sonnon has served as the U.S. National Sambo Team coach and as a top-level referee. He was the first American to study behind the Iron Curtain with the USSR’s national and Olympic coaches and went on to earn the Honourable Master of Sport diploma.

Scott Sonnon was appointed chairman for establishing the rule structure for sambo’s mixed-martial arts competition in the 1990s. Additionally, he has trained Alberto Crane, Elvis Sinosic, Jorge Rivera and Egan Inoue.

Not merely a kettlebell routines expert, he has worked as a training adviser for the National Law Enforcement and Security Institute, the U.S. Army Combatives School, Italian counterterrorism units, Australian law-enforcement personnel, Russian and Israeli special forces, the Norwegian military security forces, and the Office of Air and Marine.

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By Raymond Horwitz
Photo by Robert Reiff – Today

Leon_Wright_150px-OPTMCMAP Instructor Leon Wright Demonstrates Self-Defense Moves Against a Roundhouse Punch
Leon Wright was inducted into the Black Belt Hall of Fame as its 2010 Self-Defense Instructor of the Year. This was not a lightly granted honor for the Marine Corps Martial Arts Program (MCMAP) expert, as his martial arts credentials and expertise in the field of self-defense moves are impressive.

With more than 40 years of experience in a range of Asian fighting styles, Leon Wright is a 10th-degree black belt in and the founder of souseiki ryu sekkinsen shigaisen, an art that is formally recognized in Okinawa and Japan, as well as the United States.

SELF-DEFENSE VIDEO
MCMAP Instructor Leon Wright Demonstrates Self-Defense Moves Against a Roundhouse Punch

Leon Wright’s post-U.S. Marine Corps life has been spent serving the United States’ men and women in uniform, overseeing daily operations of numerous coalition forward operating bases in Afghanistan. It’s during this work that he volunteers his free time to teach the self-defense moves of souseki ryu to a growing group of students.

In addition to that already impressive roster, Leon Wright is a fifth-degree black belt in MCMAP — a rank one step higher than the maximum fourth degree normally available to gunnery sergeants. Additionally, Leon Wright is a certified MCMAP subject-matter expert, authorizing him to teach the MCMAP program as a civilian.

While the name of Leon Wright’s martial art — souseiki ryu sekkinsen shigaisen — may seem complicated, it’s actually based on simplicity, efficiency and realism. Souseki refers to “time of creation,” ryu to “school” or “way,” sekkinsen to “close combat” or “infighting,” and shigaisen to “street fighting.”
According to MCMAP instructor Leon Wright’s website, souseki ryu is a “non-classical, American martial art focusing on self-defense and realistic street situational training” technically derived from a variety of martial arts disciplines, including the following:

kung fu
jujitsu
muay Thai
kyokushinkai karate
shotokan karate
judo
In the above video depicting self-defense moves from Leon Wright’s extensive training in a variety of styles — including MCMAP techniques — the Black Belt Hall of Fame member shows you, the viewer, how to defend yourself against a roundhouse punch.

In the video, Leon Wright assumes the ready posture in front of his opponent. When the opponent throws a roundhouse punch (or, as Leon Wright calls it, a “haymaker”), the MCMAP instructor executes a high elbow block, then steps into the opponent’s personal space to deliver an elbow strike to the jaw.

Next up in his sequence of self-defense moves is the application of pressure to the knee to get the opponent off-balance. The MCMAP and karate expert then overhooks the man’s left arm just above the triceps before sweeping the leg in question. Still holding the opponent’s arm, Leon Wright executes a standing armbar while drilling his knee into the opponent’s ribs.

If this sequence of self-defense moves has not finished the attacker, the MCMAP instructor has a couple of finishing moves at his disposal. If he’s armed, the MCMAP techniques expert can put a knife to the attacker’s throat. If empty-handed, he can apply choke pressure or fire a straight punch to the opponent’s face.

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by Keith Vargo Illustration by Shin Yul-Da 

Zen in the Art of Archery, Bodhidharma and the Shaolin Temple: Martial Arts Fact or Fiction? (Part 1)When a person uses the word “myth,” he is usually pointing out that something is false. What’s more, he is claiming it’s a falsehood many people believe is true, such as urban myths about illegal kidney harvesting or murderous lunatics who make threatening calls from within their victim’s home. These stories aren’t true, but many people believe they are. They don’t seem especially powerful or meaningful. Maybe “myth” isn’t the right word for them.

A myth is a story meant to convey a fundamental truth or belief. Usually it’s a mixture of history and fantasy, a kind of cultural ideal. It is, in short, a story so compelling that it doesn’t fit into the easy categories of truth or falsehood.

The martial arts are full of myths. For instance, there are stories about Japanese warriors being taught swordsmanship by tengu, or mountain goblins. I don’t think anyone believes goblins were the origin of kenjutsu, but it’s still a story, not a lie. Some people think tengu were actually yamabushi, mountain ascetics whose ritual privations were supposed to give them special abilities. The underlying message is that the secrets of swordsmanship originated in a single-minded, religious devotion.

The tengu story is a little closer to what we normally think of as myth, but there are grander stories in the martial arts that mean a lot more to people. Two of the most popular are the myth of Shaolin Temple and the myth of Zen in the art of archery.

Most martial artists know the general outline of the Shaolin Temple story: A monk named Bodhidharma traveled from India to China as a missionary for Dhyana (Zen) Buddhism. He found the disciples there in poor physical shape, so he taught them exercises to improve their health, thus enabling them to meditate for longer periods. Those exercises eventually developed into an original martial art, from which all forms of kung fu, kenpo and karate descended.

Many writers and researchers believe this is myth, not history. There probably was a Bodhidharma, and there are historical records of fighting monks. But it’s unlikely that the Indian patriarch fathered the martial arts. Historians point to records of fighting arts in China long before Bodhidharma’s arrival. Also, the one work attributed to the Indian patriarch, the I Chin Ching (Muscle-Change Classic), suggests he taught the Chinese monks yoga, not kung fu.

So why was the story told to begin with, and why does it continue to be so compelling? Probably because it expresses the martial ideal better than the complicated, incomplete and sometimes contradictory facts of real history. Shaolin Temple was likely the first place in the world to produce what we think of as a martial art by combining wisdom, meditation, discipline and fighting skills into a way of life.

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by Danny Dring & Johnny D. Taylor

How to Overcome Martial Athletic Injuries (Part 1)

Sidelined. Restricted activity. Surgery. Therapy.

Those words have the power to drag down the spirits of any martial artist. When you’ve been taken out of your game by sickness or injury, you discover a whole new team of opponents standing between you and your rapid return to training and competition. And the longer it takes to get back in the game, the more prone you are to experiencing injury-related depression.

Depression, that energy-sapping, happiness-stealing frame of mind, is almost certain to visit any athlete who’s been sidelined because of injury. And it will kick you while you’re down. So be prepared to fight back should you find it attacking you.

Depression During Martial Athletic Injuries

Here are a few reasons injured athletes fall prey to depression:

  • The injury itself: The knowledge that you’re injured is enough to darken your mood.
  • Pain: The chronic pain that accompanies many injuries can wear down your attitude.
  • Months of hard work down the tubes: Inactivity brings atrophy, causing hard-fought gains in physical ability and skill to disappear.

  • Time: The period needed to recover and return to your former levels can be overwhelming if it stretches to months or even years.
  • Missed opportunities: The goals you’ve set for yourself in competition or personal achievement are suddenly out of reach.
  • Endorphin withdrawal: Your regular workouts have provided you with natural mood-elevating chemicals. Being injured means no workout, and no workout means no endorphins.

Fight Back From Your Martial Athletic Injuries!

But enough of the bad news. It’s more beneficial to discuss ways to defeat depression, recover from your martial athletic injuries and get back into training. Here’s how to start:

  • Don’t deny — identify: If you ignore your martial athletic injuries, they won’t go away. And if you’re not impervious to injury, then neither are you immune to depression. You can’t deal with it until you recognize and acknowledge it.
  • Don’t quit: An injured athlete is still an athlete and should act accordingly. You didn’t quit when the workouts got hard, and you won’t quit when your athletic career faces the unexpected challenges that martial athletic injuries and depression present.
  • Take responsibility for your athletic injuries and your response to them: It’s your body, mind, career and injury. You must take responsibility for your healing, and that includes your attitude. Medical professionals have their roles to play, but ultimately the responsibility for health and healing lies with you.
  • Be proactive in your recovery from martial athletic injuries: Regaining a sense of control is mentally therapeutic, so instead of passively waiting for your body to heal, get involved and develop a plan of action.

Form a Plan to Recover From Your Martial Athletic Injuries

A blueprint for healing will help you focus on what you can do, as opposed to what you can’t do. It’ll help you direct your energies toward achieving as quick a recovery as possible. Just having a plan will go a long way toward lifting the weight of injury-related depression. Your blueprint should include the following actions:

Redefine Your Goals For Recovery From Martial Athletic Injuries

Most martial artists are goal oriented and have used that characteristic to reach their current level of health, rank or competition. You should tap into that same power to speed your healing. Set new goals for yourself such as consistently attending rehab or therapy sessions as directed by your doctor.

Get Smart!

If you’re going to become proactive in process of healing from your martial athletic injuries, you’ll need to arm yourself with all the information you can get. Study your injury and the schools of thought surrounding it. Learn the treatment options available. Discover which medical professionals in your area specialize in your type of injury. Find out what your body requires to heal and do all you can to provide it.

Work Around the Injury

Not all martial athletic injuries require bed rest, so ask your doctor what you can and cannot do. Questions about your martial athletic injuries might include:

  • If your shoulder is jacked up, can you get in a lower-body workout?
  • If your knee is torqued, can you work your upper body?
  • How can you train around your injury, allowing it the inactivity it needs to heal while still working your uninjured parts?
  • Can you swim or ride a stationary bike?
  • Can you work your abs?
  • What about developing flexibility?

There is much to be said for creative cross-training and the benefits it will bring. You may find that a return to working out, regardless of how strenuous or unconventional it is, creates a new sense of mission, a hedge against atrophy, a productive and positive use of time, and those wonderful endorphins that will elevate your mood.

Understand that the regimen of therapy devised by a medical professional is one thing and a workout that allows you to train around your injury is quite another. It’s important to separate them so you can set medically sound goals for both the rehab and the training.

To be continued in How to Overcome Martial Athletic Injuries (Part 2).

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David_Lin_150px-OPT1by Dr. Mark Cheng, Senior RKC
Photo by Peter Lueders

Editor’s Note: This page’s text is adapted from an article about shuai chiao master David C.K. Lin by Dr. Mark Cheng, Senior RKC, printed in the February 2000 issue of Black Belt magazine. The photo shoot depicted in our exclusive behind-the-scenes video below is for a future issue of Black Belt magazine.

David Chee-Kai Lin is one of the most quiet personalities in the kung fu community, but he’s also one of the most accomplished. His early training reads like a chapter out of a martial arts novel and his current teachings on the finer points of combat shuai chiao are just as amazing.

KUNG FU VIDEO Combat Shuai Chiao Master David C.K. Lin and Dr. Mark Cheng Prepare Techniques for Black Belt Magazine Photo Shoot

Bullies Beware: Lin’s First Exposure to Shuai Chiao

When David C.K. Lin was little, he often watched other kids get bullied — and it infuriated him. While frequently interceding on behalf of the underdog, Lin gravitated toward throwing techniques and found himself yearning for shuai chiao training to bolster his fighting skill.

His first exposure to the Chinese wrestling art of shuai chiao came in a junior high school club whose activities were overseen by the legendary Chang Dung-sheng.

A disciple of Chang Fong-yen, Chang was called the “king of shuai chiao” throughout China and Taiwan. However, Lin recalls that the grandmaster didn’t oversee the club’s class on a regular basis because of his busy teaching schedule. “Chang only appeared on the first day and then walked out the door at the end of practice, leaving a couple of senior students to lead the club’s practices,” he says. “They’d practice techniques with the younger students and share their techniques with the other newcomers as they joined the club.”

Pleased with the opportunity to learn shuai chiao, Lin diligently practiced the techniques he picked up from those club meetings.

Once, he went off to train at school and heard of an event he thought was a shuai chiao practice session. With his uniform rolled up under his arm, he made his way through the crowd and found that the event was not the shuai chiao club’s doing, but rather the judo club’s membership drive. Quite a few black belts were there with their coach, and they were demonstrating their throwing techniques for the crowd.

The coach saw the roll under Lin’s arm and asked him to join in the demonstration, thinking that he was holding a judo gi (uniform). When Lin put on his short-sleeved uniform, the surprised coach had him go one-on-one with every member of the team — only to find that the lone shuai chiao stylist had no problem destroying every student on the mat.

To save face for the club, the coach himself challenged Lin, only to meet the same fate. When Lin bent over to lend a hand to the coach after throwing him to the mat, he kicked Lin in the face, giving him a bloody nose. Lin berated the coach for his unsportsmanlike conduct in front of the crowd, then stormed off the platform.

Impressed by the display of skill and character, one of the seniors from the shuai chiao club ran off to tell Chang what had just happened. Chang, who had never paid much attention to Lin until then, sent a message back a few days later. It instructed Lin to go to a local park at 6 a.m. if he wanted to improve his skill.

When Lin showed up the next morning, he met the grandmaster — and he soon found himself holding stances for five minutes at a time. It seemed that Chang would just practice his forms and leave the young man on the side, struggling to hold a stance as sweat dripped off his shaking legs. Those stances built up the raw strength that would give Lin’s body the power to execute shuai chiao’s powerful, explosive throws.

Lin’s parents noticed their son’s passion for shuai chiao and wanted him to go through the discipleship ceremony with Chang. Chang, however, was a devout Hui Moslem, and he replied that men should not be the masters of other men because that was the role of God. (That attitude would later change as Chang accepted several disciples and “adopted sons.”) But Chang’s beliefs did not keep the senior students from serving him, and they placed themselves in the traditional role of household helpers to their shuai chiao teacher. Lin was the last of this group.

Chang was tied to many of Taiwan’s notables, some of whom sought him out for training. Chen Chih-Chen, a grandson of Chen Ying-Shih, one of Chiang Kai-Shek’s seniors in the Kuomintang, was also a practice partner during those early morning sessions. Those private workouts consisted of detailed explanations of the solo forms and stance work, followed by a few throws that the grandmaster would explain carefully and perform effortlessly. “Master Chang would use the same movement or throw and show me many different ways of approaching and entering into that throw,” Lin recalls.

World of Competition

At age 15, Lin attended his first real tournament: the Taiwan National Athletic Tournament, which included all sorts of grapplers. Even though his only exposure to shuai chiao was through his junior high school club and a few weeks of training with Chang himself, Lin tore through the competition and found that the explosiveness of his throwing techniques allowed him to dominate everyone as soon as he laid his hands on them.

Out of sheer nervousness, Lin kept using only his “tearing” technique; but that kept the opposition from establishing a clear hold on him, thus giving him half the fight already.

“When your opponent can’t hold you, he can’t throw you,” shuai chiao expert Lin says with a twinkle in his eye.

At the tender age of 16, Lin became Chang’s second in command at Taiwan Central Police University. As the young assistant to the grandmaster, Lin was constantly heckled by the 200-plus students he taught daily. But Lin got a chance to practice his throws on more than 200 opponents in rotation. Few fighters in the history of the martial arts ever got to train that intensely or realistically, and it forced Lin to make sure his techniques worked well.

From age 14 to 16, Lin trained with Chang every morning in the park. For the following two years, he spent up to 10 hours a day perfecting his skills: training one-on-one with Chang in the morning, helping the grandmaster teach at the police university, overseeing practice at the high school shuai chiao club, and training with others privately. That bolstered Lin’s already considerable physical technique with a deeper mental understanding of shuai chiao that can be gained only through teaching.

Challenges were the norm at the police university. So numerous were the people that came to try him out that eventually Lin made it known that he would accept no challenges from anyone who wasn’t already a high-ranked martial artist or champion. For those who still qualified, he made a “three-strikes” rule: If Lin threw a challenger three times, the match was over.

In one particularly rough bout, a challenger was thrown so high his feet took out the lights on the first throw and went out the window on the second throw. Lin relates a particular incident in which an opponent acquired the nickname “1:30.” That came about because of a strong fighter who knew that Lin’s favorite move was “grip tearing.” To prevent the tear, the opponent grabbed Lin’s belt, which gave him a much firmer hold.

“When someone grabs your belt with both hands, it’s not easy to tear his grip,” Lin says. “I dropped into a horse stance, throwing my hips back, and pushed on his forehead with both hands. This cranked his neck backward and pinched a nerve, which caused one of his neck muscles to cramp, just like when you wake up with a crick in your neck. The pain broke his grip, and I threw him right away. When he got up, he couldn’t straighten his neck. The police who were there to witness the fight thought that was really something, and they called the guy ‘1:30,’ since they said that the line from his head to his neck was bent the way the hands of a clock are at 1:30.”

Serious Matches

In high school, Lin fought a Thai boxer who happened to be in Taiwan. His face had appeared on a few magazine covers, and he was known as a Thai champion. From the start, Lin knew his opponent’s kicks would be his main concern, so he stayed low and shot in fast, grabbing the offending leg and sweeping the standing leg.

“I heard that Thai boxing allows throws, so I was wary of that as well, but the kicks concerned me more,” Lin says. “When I fought the Thai guy, I knew I couldn’t afford to let his kick make full contact with me, so I kept my stance low and prepared to dart in as soon as he kicked. That gave me the chance to throw him hard, but he must have landed wrong. When he stood up, one of his little fingers was turning 360 degrees at the knuckle, so we stopped the fight.”

There’s also the story of Lin being tricked into fighting a challenge match with two men at the same time. By advertising a friendly match between shuai chiao and their style, the men meant to demonstrate the superiority of their system. When Lin showed up to watch the demonstration, it turned out that he was the only shuai chiao stylist there and was tricked into fighting.

He faced his first opponent and threw him easily, much to the dismay of the instigators.

Two fighters from that school mounted the platform with Lin, intending to hurt the shuai chiao stylist and save the honor of the school. Instead, Lin fought both at once and left them in a heap on the mat. He walked away unscathed.

“Some people like to talk about these things a lot, but challenges aren’t always pretty,” the shuai chiao master says. “That’s why it’s always better not to get into these kinds of situations. People get hurt.”

After a few years of intermittent contact, the 29-year-old Lin and his master traveled together to Singapore and Hong Kong in 1976 at the invitation of the local governments. Chang took that opportunity to demonstrate shuai chiao with Lin wherever they stopped, strongly reaffirming his already fearsome reputation as a fighter and introducing his pupil to local kung fu associations. The demonstrations left crowds awed and newspaper reporters composing stories about their power.

Fighting Secrets of Shuai Chiao

The almost 20 years of rigorous training and unique opportunities have left an indelible mark on Lin’s teachings, and even today they are overflowing with the ferocity and power of Chang Dung-sheng.

According to Lin, the trait that made Chang and his combat art so effective was his ability to combine striking and grappling in a fluid, logical manner. That logic and experience has served Lin so well that anti-terrorism schools and secret-service agents from around the world have paid him to elucidate those concepts of shuai chiao for them.

“There are lots of people who learned shuai chiao from Grandmaster Chang and they can throw well, but that’s only half the picture,” Lin says. “There are others who never learned shuai chiao and they’re excellent strikers. My teacher used to tell me to kick and punch from a distance, then lock and throw in close. The problem is that most people know this idea but aren’t always clear on how to actually make that happen.

“To fight the average person, anything will work,” Lin continues. “To fight someone with some skill, you have to develop a more well-rounded game. This is what combat shuai chiao is all about. I liked fighting even when I was a little kid, so early on I got an idea of what would be practical and what wouldn’t.”

From defending other kids from bullies to throwing 200 policemen in rotation, Lin’s rough-and-tumble days in Taiwan gave him a crystal clear understanding of the science of combat and the usefulness of Chang Dung-sheng’s rare art of shuai chiao. Now, American martial artists are fortunate to be able to learn those very same shuai chiao skills, which have been preserved by the efforts of David Lin.

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B1By Janet Lee

You do your time on the treadmill, hoist some weights, and maybe even throw in yoga for good measure. But your regimen probably lacks one key element: power. Besides torching extra stored fat and quickly sculpting your muscles, power moves give you a mental edge­ — in and out of the gym. So we tapped six of the top trainers in the biz for their surefire tips for squeezing that extra octane from your muscles and workouts. They will change the way you train forever.

Joe Dowdell

At Peak Performance, the private New York City gym that Joe Dowdell co-owns, it’s the deceptively simple-looking equipment, like sandbags and Prowler sleds, that will make your heart pound and your muscles burn. High tech doesn’t necessarily mean fast results, and Dowdell is known for getting results, whether from A-list stars (he’s worked with Anne Hathaway and Eva Mendes), pro athletes, or supermodels. The common denominator? They all focus on strength work more than cardio. “Don’t make the mistake of thinking that training for power will make you bulky,” Dowdell says. “It’s not true. Some of the women with the best physiques train that way.”

“One of the best things women can do for themselves mentally is to get physically stronger and more powerful,” Dowdell says. “It will have an impact on everything you do.”

Power Principles

Carve your core. “The weaker your core is, the less power you’ll be able to generate,” Dowdell says. Try his Stirring the Pot center strengthener: With your toes on the floor and elbows bent 90 degrees, rest your forearms on a stability ball, abs tight and body straight. Keeping your body still, use your arms to roll the ball in 10 small clockwise circles, then 10 counterclockwise.

Prioritize your workout. “Always do your power — that is, explosive — moves before your normal strength exercises,” Dowdell says. “Because they’re more neurologically challenging, you want to be at your freshest for them.”

Stick the landing. “Before you jump really high, learn how to decelerate, because that’s where people often get injured,” Dowdell says. Start by hopping from the floor onto a 6- to 12-inch-high platform. Once you feel comfortable landing in a stable way, nix the box.

Joe Dowdell’s Head-to-Toe Routine

ss_Joe_Dowdell-30496No matter what your level, you can add power moves into your routine with this quick total-body circuit from Joe Dowdell, co-owner of Peak Performance. You’ll just need a weighted ball (heavy enough to make 10 reps of the moves challenging) and a sturdy step — and, for more advanced exercisers, a solid gym wall. Or try his anyone-can-do-it interval workout. Walk, bike, run, skate — choose whatever cardio you like!

Upper Body Medicine ball chest pass

  • Stand with feet hip-width apart, holding a weighted ball in both hands in front of chest, elbows bent.
  • Throw ball forward onto floor. Pick it up and repeat. MAKE IT HARDER: If you’re an experienced exerciser and you have a sturdy, solid wall at the gym meant for such purposes, stand facing the wall and throw the ball at the wall; catch it, take time to reset your position and repeat.
  • Do 10 reps.

Core Medicine ball rotation throw

  • Stand with feet about shoulder-width apart and hold a weighted ball in both hands at your left side, elbows bent.
  • Pivot and push off of right foot as you throw ball across your body to the right.
  • Go pick up ball and repeat. MAKE IT HARDER: More experienced exercisers can stand perpendicular to a wall (a few feet away with right side closest to it), feet shoulder-width apart, and hold ball with both hands by your left side; pivot and push off of right foot as you throw ball across your body to the left against the wall. Catch it, take time to reset your position and repeat.
  • Do 8 to 10 reps. Switch directions and repeat.

Lower Body Plyo jump

  • Stand with feet hip-width apart in front of a 6- to 12-inch aerobic step, sturdy bench, or platform.
  • Lower into a squat then jump up onto step, making sure your landing is solid. MAKE IT HARDER: For more experienced exercisers, do not use a step, jumping up from squat position then landing with feet on floor.
  • Do 8 to 10 reps.

Quick Cardio Burner

  • After a 5-minute warm-up (choose any type of cardio), sprint for 30 seconds then rest (at an easy to moderate pace) for 90 seconds.
  • Repeat four more times and work up to 10. (If you find you’re covering less distance in that 30-second span as you progress through your reps, rest longer. If it feels too easy, increase your incline or sprint for 45 to 60 seconds.)

Jeanette Jenkins’ Training Tips

ss_101855908_wIt’s fitting that Jeanette Jenkins’ company is called the Hollywood Trainer. When she’s not putting celebs like Queen Latifah, Pink, and Paula Patton through their paces, she’s putting out workout DVDs, like her latest, Sexy Abs with Kelly Rowland & Hollywood Trainer Jeanette Jenkins. Known for taking an eclectic, cross-training approach to fitness — weights, cardio, kickboxing, Pilates, yoga, you name it — Jenkins’ success comes from continually challenging her clients to do more. “So many people don’t ever come close to realizing their true physical potential,” Jenkins says. “Power means having the mental strength to push yourself to your limit.”

“Start a habit of working harder for part of every session,” Jenkins says. “To see big results, you have to get comfortable being uncomfortable.”

Power Principles

Channel Flo Jo. “A favorite move I use is Sprint on the Spot,” Jenkins says, a nod to the world’s fastest woman, Florence Griffith Joyner. “You don’t need a treadmill; simply sprint in place for 15 to 30 seconds, pumping your arms and raising your knees high.”

Man up. “The most empowering thing for a woman to be able to do is push and pull her own body weight,” Jenkins says. “Do push-ups from your toes instead of your knees, even if it’s only two, and add reps from there. Then aim to do a pull-up. Start with the Gravitron machine and lat pull-downs in the gym, then have a pal spot you on the pull-up bar.”

Mind your power portions. “For experienced exercisers, make plyometric moves like burpees and jump kicks about a quarter of your circuit,” says Jenkins, who demonstrates the meaning of plyo here. “They’re great for toning, but limiting the number you do will keep you from overtraining or getting injured.”

Jeanette Jenkins’ Fat-Blasting Exercises

ss_Jeanette-Jenkins-Fitness-Magazine-29957Trainer-to-the-stars Jeanette Jenkins says her clients love it when she adds high-intensity moves to their routine. To make it more fun and help them visualize exercises, she also incorporates sports-oriented drills. She gave us five of her favorite oomph-building sculptors to rev up your routine. Just one caveat, says Jenkins: Any exercisers who may be overweight should skip the jumps — she recommends against doing such taxing plyo moves until you’ve hit your healthy weight range.

Burpee combo with side shuffle

  • Stand with feet shoulder-width apart. Squat low, placing hands on floor shoulder-width apart and hop or step legs back into full push-up position.
  • Do a push-up, then step or hop feet in toward your hands again.
  • Jump up (reach high!), then land in a squat and immediately shuffle twice to left.
  • Lower into a squat, touch both hands to floor, stand up, then repeat shuffle and touch to the right to complete 1 rep.
  • Do 10 reps (that’s 10 burpees and 20 shuffles).

Jump kick

  • Stand with feet slightly staggered, left in front of right, and hands in fists next to chin.
  • Jump up and land on left leg as you kick forward with right.
  • Bring right foot down to starting position then lean forward and extend left leg back behind you.
  • Do 10 reps then switch sides and repeat.

Pendulum

  • Stand with feet hip-width and extend arms out to sides, palms facing down and fingers long.
  • Keep arms raised as you hop on left leg and extend right leg out to side, then quickly hop onto right leg and extend left leg out to side.
  • Finally, hop back onto left leg and lift the right leg out high to the side for one count as you balance on left leg. (You should feel the glute of the lifted leg working just as much as the glute on the balancing leg.) Switch sides and repeat lift to complete 1 rep.
  • Do 10 reps.

Power plyo lunge

  • Stand with feet hip-width apart, hands on hips or by sides.
  • Jump up as you scissor legs, right leg forward and left leg back, landing with knees soft and feet side-by-side.
  • Immediately jump up and switch legs (left leg forward and right leg back), then jump up again and switch (right leg forward, left leg back), this time lowering into a full lunge to complete 1 rep.
  • Jump up and repeat (the rhythm is “scissor, scissor, lunge”).
  • Do 10 reps.

Volleyball block

  • Stand with feet shoulder-width apart and picture a volleyball net in front of you.
  • Lower into a half-squat and raise arms at your sides, elbows bent and hands next to your shoulders, palms facing forward.
  • Shuffle three times to your left, then jump up as if you were blocking a shot, extending arms overhead. Immediately shuffle back to the other direction and jump up.
  • Do 10 shuffles to each side.

Gunnar Peterson’s Training Tips

ss_101855906_wName just about any überbabe — Jennifer Lopez, Kim Kardashian, or Angelina Jolie, for starters — not to mention some of the world’s best athletes, and Gunnar Peterson has trained her. He’s the go-to guy whether you want to get in shape for a movie, win a title fight (yes, he’s even trained Mike Tyson), or firm up for a close-up. And because he uses athletic training, including power exercises, with everyone, even his everyday clients do plyometric moves and speed drills. “I see power as the ability to ‘do’ with emphasis and authority,” says Peterson, who has been perfecting physiques for more than two decades. “It’s a form of control, and as a self-admitted control freak, I’m a fan.”

“When you do power moves, you switch to burning fat stores sooner,” Peterson says. “That will help you change the proportions of your body.”

Power Principles

Add explosive movements. In physics, power is the rate at which work is performed. Peterson knows his physics: “Plyometric moves, like squat jumps, where you’re catching air, train your muscles to work faster.” Start with three sets of five to eight reps one day a week and build from there.

Ramp it up. On a treadmill, walk or jog for 30 seconds at a 0 or 1 percent grade, then increase the incline to a challenging hike — aim for between 10 and 15, depending on your fitness level — and walk or run as fast as you can for five to 10 seconds; repeat this eight to 10 times. (Do the same thing on a bike by adding resistance and standing up as you sprint.) “Think ‘Push!’ during the sprint and then back off; then ‘Push!'” Peterson says. “Yell it to yourself. Forcing the words and air out make you exert more energy.”

Get a beeper. When you’re trying to crank out as many reps or rpms as you can for a set amount of time, keep your eyes on your form, not your watch. Peterson uses the Gymboss interval timer ($20, gymboss.com). Program two different interval lengths — sprint and recovery — and the alarm will sound to mark your next set.

Gunnar Peterson’s Plyo Exercises

ss_Gunnar_Peterson-Fitness-30746These power-boosting moves from Beverly Hills-based trainer Gunnar Peterson will light a calorie-torching fire under your weight workout — and firm up your body from head to toe.

Depth jump

  • Place two platforms about a foot or so away from each other (use plyo boxes at the gym or sturdy aerobic steps or benches at home). One should be slightly higher than the other (you can increase the height as you get stronger).
  • Stand on the shorter platform facing the taller one. Hop down off shorter platform, landing on both feet, then lower into a squat and jump up onto the taller platform.
  • Step off the taller platform, go back to the shorter platform and repeat.
  • Do 8 to 10 reps.

Plyo push-up

  • Get in full push-up position on floor, arms extended with body forming a straight line from head to heels. MAKE IT EASIER: Place hands on a low sturdy platform or a countertop (the higher the surface, the easier the push-up). Or, start in modified push-up position on your knees and progress to your toes as you get stronger.
  • Bend elbows, lowering chest down, then push up as hard as you can, trying to catch some air.
  • Land and immediately lower into a push-up again.
  • Do 8 to 10 reps.

Band squat press

  • Stand with feet shoulder-width apart on the center of a resistance tube and hold an end in each hand next to shoulders, palms facing forward. (The tube should be taut.)
  • Lower into a squat, keeping hands next to shoulders, then rise up as fast as you can.
  • Press arms overhead. MAKE IT EASIER: Keep hands by shoulders.
  • Do 10 to 12 reps, repeating squats as fast as you can.

Elena Brower

ss_101855905_wFast-paced power yoga classes may get your heart rate up, but for Elena Brower, the founder of Virayoga in New York City, the real power of posing is in the mind and body recharge. Her celebrity-packed studio — Gwyneth Paltrow, Christy Turlington Burns, and Carla Gugino are fans — offers different styles, but it’s Brower’s magic touch for fine-tuning alignment and physiques that is her signature. “Any consistent, regular practice will help you be stronger and more stable,” Brower explains. “But the real key is to connect with yourself so you can mentally tap into those benefits off the mat.”

“Tightness, whether it’s in your muscles or your mind, drains your power,” Brower says. “Loosen up to unleash what you can do physically, mentally, and emotionally.”

Power Principles

Optimize your abs. The secret to a flat, steely yoga belly? “In order for any muscle to work its best you have to take it from full effort or contraction to full relaxation,” Brower says. Whether you’re doing boat pose or bicycle crunches, consciously relax your abs between reps, then bring your navel to your spine as you contract them again. (Hint: If you’re breathing from your chest, you’re not relaxing your middle.)

Shore up your foundation. Spend some workout time barefoot to strengthen your feet and other stabilizing muscles. Practice Brower’s prescription for steady footing: Press into the floor with the balls of your big and pinkie toes, not the digits in between; this helps release the gripping motion and frees up energy to nail the pose. (Kick off your shoes for Brower’s favorite asanas at fitnessmagazine.com/powerup.)

Just breathe. To maximize your muscle control and mental concentration, try to increase the number of breaths you’re holding each pose for. “If you’re at three now, work toward 10,” Brower says, and inhale deeply, “as if you’re trying to fill the periphery of every limb” with the oxygenated blood that is your muscles’ power supply.

Elena Brower’s Favorite Yoga Asanas

ss_Elena_Brower-Fitness-30635Much of your power comes from your core and yoga is a can’t-miss way to strengthen these muscles. Yogi-to-the-stars Elena Brower, co-owner of New York City’s Virayoga, recommends working your abs and back with these five moves; they’ll give you 360 degrees of strength, stability, and power.

Full Plank

  • Start on the floor on all fours, hands shoulder-width apart.
  • Tighten your abs as you lift your knees and step your feet back so your body is straight from head to heels. (Try to reach the top of your head forward as your heels reach in the other direction so you’re elongating your spine. Keep your shoulder blades pulled down your back.)
  • Hold for 3 to 10 breaths.

Side Plank

  • From full plank, lift right hand off mat and turn torso so that your shoulders are stacked (right shoulder directly above left) and you are balancing on left hand. (Left hand should be aligned directly under left shoulder.)
  • Raise right arm straight up toward ceiling, reaching high, and either stack feet (resting on the outside of left foot) or keep them staggered (resting on the inside of right foot and outside of left).
  • Keep hips raised so body is straight from head to heels.
  • Hold for 3 to 10 breaths then switch sides and repeat.

Dolphin pose

  • Kneel on floor with knees under hips, toes turned under so heels are up, and rest on forearms so shoulders are aligned over elbows, palms on floor.
  • Lift knees and straighten legs (as much as you can) so you’re in an inverted V; let your head hang between arms. MAKE IT HARDER:  Walk feet closer as you get more comfortable.
  • Hold for 3 to 10 breaths.

Sphinx

  • From dolphin, lower belly, hips, and legs to floor (soles of feet facing up) but continue to hold yourself up on forearms so chest is lifted and palms are pressing into the floor.
  • Look forward as you inhale and extend back into a slight backbend; pull your shoulder blades together but don’t squeeze glutes.
  • Hold for 3 to 10 breaths then lower your head and chest to floor and move immediately into Cobra pose.

Cobra

  • From facedown position, place palms on floor next to shoulders and squeeze elbows tight to your body.
  • Keeping hips, legs, and feet firmly on floor, inhale as you press hands into floor, straightening arms and lifting chest and abs forward and up. (Don’t squeeze glutes or lift higher than is comfortable. Keep your shoulder blades pulled down and back; look forward.)
  • Hold for 3 to 10 breaths, then repeat the Sphinx and Cobra once more.
  • Finish by sitting back on heels and lowering chest to floor as you reach arms forward (Child’s pose).

Tony Horton

ss_101858307_w“There are three things we lose as we age: speed, balance, and power,” Horton says. “Power training can help you get all three back.”

One of the hottest workouts still on people’s lips these days — seven years after it was released — is P90X, the high-intensity DVD routine that everyone from office workers to celebrities raves about. Tony Horton, the man behind the juggernaut, just released P90X2, a next-level series that has more skill-based exercises and core and stability moves. “People are starting to understand that fitness isn’t just about strength,” Horton says. “It’s having your body move with ease and having good range of motion in multiple planes. Real power comes from what your body and gravity can do together.”

Power Principles

Find your weak spot. “If you focus on improving your weaknesses instead of bolstering your strengths, everything gets stronger,” Horton says. “Instead of simply doing what you enjoy and know you can do, try something new and don’t worry about being embarrassed.” The first 30 to 45 days will be difficult, Horton notes, “but dramatic physical and emotional change will follow.”

Multitask your muscles. “Get away from myopic training programs and traditional movements that do only one thing,” Horton says. “Rather than a regular push-up, add a hand clap or travel across the floor during it.” The same goes for squats or lunges: Add jumps or an upper-body element.

Adjust your cadence. Get more toning out of moves like the chest press or leg press by doing the lift portion in a split second, then taking two to three seconds to lower. Mixing in such power sets will challenge your muscles differently so you don’t get stuck on a shaping plateau, Horton says.

Tony Horton’s Circuit Workout

ss_101858308P90X creator Tony Horton doesn’t consider lack of time or a gym to be good excuses for missing a workout. You can do this mini total-body strength-and-cardio circuit in your living room without any weights. Just combine an upper-body move with a quick interval burst followed by core and lower-body exercises. That’s one “round.” Rest for 30 to 45 seconds after each round, then repeat the circuit again. Do up to 5 rounds. Here’s a sample:

Upper Body Crawling push-up

  • Get in full push-up position on floor, arms extended, body forming a straight line from head to heels.
  • Lower chest down, press up, then bring right arm and step left foot forward (as if you were going up a ladder).
  • Lower chest down again, press up, and bring left arm and right foot forward. Continue for 1 minute.

Interval Burst Free sprint

  • Sprint for a minute in place, pumping arms back and forth, then freeze with left knee raised so you’re balancing on right foot.
  • Hold it for 2 or 3 counts then sprint again.
  • Freeze every few seconds or every 10 seconds — surprise yourself! — alternating standing legs. Continue for 1 minute.

Core Mason’s twist

  • Sit with knees bent, feet on floor or slightly raised.
  • Clasp hands in front of you, elbows bent, and lean back about 45 degrees.
  • Tighten abs and alternate bringing hands down to floor on each side. Continue for 1 minute.

Lower Body Spiderman squat

  • Stand with feet wide and squat low, arms bent and torso turned slightly to right.
  • Look to left as you jump up and to the left, pivoting off of left foot and turning 90 degrees. (Swing your arms around to left to help propel you.)
  • Land in a squat and repeat jump-turn back to right. Keep left foot lightly on floor or catch air with both feet if you can. MAKE IT HARDER: As you get more comfortable with the move, turn 180 degrees or more with each jump.
  • Continue for 1 minute.

Jackie Warner

ss_101855907_w“This is not my ‘normal’ shape,” Warner says. “I had to work to change it. Cardio can alter your size, but to change your body shape you have to use resistance training.”

“It’s not how long; it’s how strong.” This sums up Jackie Warner’s no-nonsense approach to training. Push yourself harder in less time and you’ll be more powerful, both mentally and physically. “If you’re trying to run away from the burn, you’re not going to see results,” says the Los Angeles-based makeover guru, whose latest DVD is Personal Training with Jackie: 30-Day Fast Start. “Chase the burn. Get to it and through it faster and you’ll shorten your workout time and speed up sculpting changes.”

Power Principles

Turbocharge your toning. Warner does back-to-back supersets of 12 strength moves — each superset pair works similar muscle groups — interspersed with cardio bursts. “I call it power circuit training,” she says. “It releases dopamine, serotonin, and endorphins in a big way, improving your mood and helping you feel more emotionally balanced.”

Rev your results. Interval-phobes, take note: Speed drills change your body quickly and give you a burst of energy. “Pick up a jump rope and try to do 200 rotations (start with fewer if you need to) as you time yourself,” Warner says. “The next session, attempt to do those 200 rotations in less time. Moving faster in the same amount of time builds power.”

Face yourself. “Do your strength moves in front of a mirror so you have to focus on what you’re doing and make that mind-muscle connection,” Warner says. “Research shows this also improves muscle growth.”

Jackie Warner’s Upper-Body Superset Circuit

ss_Jackie-Warner-Fitness-Magazine-29318Try this upper-body power circuit from Los Angeles trainer Jackie Warner. Do the moves in each circuit back-to-back, without any rest, then proceed to the cardio acceleration (try to get through these high-intensity bursts faster each time you do the workout). Choose a weight for each move that you can only lift 10 to 15 times. Repeat both circuits twice.

Circuit 1:

Chest press

  • Lie faceup on a bench or the floor and hold a dumbbell in each hand, elbows bent and palms facing forward.
  • Press arms up over chest then return to start.
  • Repeat until you can’t do another rep with good form.

Decline push-up

  • With balls of feet on a couch or low stool, place hands shoulder-width apart on floor.
  • Tighten abs so body is straight from head to heels in full push-up position.
  • Bend elbows and lower chest toward floor.
  • Press up, then repeat until you can’t do another rep with good form.

Military shoulder press

  • Sit on a chair or bench and hold a dumbbell in each hand next to shoulders, elbows bent by sides and palms facing forward.
  • Press arms overhead then lower.
  • Repeat until you can’t do another rep with good form.

Lateral raise

  • Stand with feet hip-width apart and hold a dumbbell in each hand at sides, palms facing thighs.
  • Raise extended arms out to sides, palms down.
  • Lower, then repeat until you can’t do another rep with good form.

Close-grip barbell curl

  • Hold a barbell or Body Bar with both hands in front of hips, hands close together and palms facing forward.
  • Bend elbows and curl bar to chest, then lower.
  • Repeat until you can’t do another rep with good form.

Hammer curl

  • Stand and hold a dumbbell in each hand at sides, palms facing thighs.
  • Keeping elbows tight to sides, curl weights to shoulders, palms facing each other.
  • Lower, then repeat until you can’t do another rep with good form.

Cardio acceleration Jump rope for 200 rotations, then move to Circuit 2.

Circuit 2:

Incline press

  • Hold a dumbbell in each hand and sit on an incline bench or lean back against a couch with abs tight and back straight.
  • Bring weights next to shoulders, palms facing forward, then press weights up over chest.
  • Lower, then repeat until you can’t do another rep with good form.

Push-up

  • Get in full push-up position on floor with hands shoulder-width apart, arms extended and body forming a straight line from head to heels. MAKE IT EASIER: Keep knees on floor.
  • Bend elbows and lower chest toward floor.
  • Press up, then repeat until you can’t do another rep with good form.

Barbell upright row

  • Hold a barbell or Body Bar in front of thighs with hands close together, palms facing body.
  • Draw elbows up as you raise bar to chin height.
  • Lower, then repeat until you can’t do another rep with good form.

Bent-over wide row

  • Hold a barbell or Body Bar with hands slightly wider than shoulders (or hold a dumbbell in each hand) and bend over from hips about 45 degrees, back flat.
  • Extend arms toward floor, palms facing behind you.
  • Draw elbows up and back until bar is close to chest.
  • Lower, then repeat until you can’t do another rep with good form.

Wide biceps barbell curl

  • Hold a barbell or Body Bar in front of hips with hands slightly wider than shoulders, palms facing forward.
  • Curl bar toward your shoulders then lower.
  • Repeat until you can’t do another rep with good form.

Biceps curl

  • Hold a dumbbell in each hand at sides, palms facing forward.
  • Keeping elbows tight to sides, curl weights to shoulders.
  • Lower and repeat until you can’t do another rep with good form.

Cardio acceleration

Jump rope for 200 rotations, then repeat circuits 1 and 2.

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by Raymond Horwitz Photo from the Fumio Demura book, Tonfa: Karate Weapon of Self-DefenseToday  

Tonfa Blocks: Karate Weapons Training With Fumio Demura“Though not as flashy or as glamorous as the nunchaku, the tonfa is nevertheless an important tool in the kobudo tradition,” says karate weapons master Fumio Demura in his classic book, Tonfa: Karate Weapon of Self-Defense. “Two tonfa in the hands of an expert make a poetic and graceful contribution to the art of kata.”

“The tonfa is also an excellent tool for the development of stronger hands and wrists, especially for achieving necessary power in blocking and striking during empty-hand techniques,” Demura continues in his karate training book. “This is where the tonfa is particularly desirable in practice over such weapons as the bo or nunchaku.”

Using One of the Most Unassuming-Looking Karate Weapons In Your Karate Training

“Swinging the tonfa requires a snap of the wrist not unlike that used in the last instant of a karate punch,” Demura explains. “By developing control — for instance, learning to stop the swivel motion of the tonfa by gripping the handle harder — hand strength will improve rapidly.”

Karate Weapons Master Fumio Demura in Action!

In this exclusive video excerpt from his karate weapons DVD Tonfa: Karate Weapon of Self-Defense, Demura demonstrates the intersection of karate-training moves and karate weapons as extensions of the human form.

KARATE WEAPONS VIDEO Karate Weapons Master Fumio Demura Demonstrates Tonfa Blocks!

Intersection of Weapon and Body

“In order to deliver or receive a powerful blow, the parts of the tonfa must be strong, yet flexible,” Demura says. “Several hardwoods which are not too brittle will satisfy this requirement, with the most popular materials being oak and cherry wood.”

As for how the tonfa and the human body intersect, Demura says, “The length of the tonfa is determined from the grip to the back of the head. While holding the tonfa, the back head should extend past the elbow by about one-half inch. Once this distance is determined, the balance of the tonfa can be adjusted by reducing the length from the grip to the front head. Under these requirements, one must choose a length and balance to fit his physical characteristics and strength.”

Fumio Demura on Maintaining Your Weapon

Just how do you take care of a solid blunt weapon? Shouldn’t it basically take care of itself? According to the karate weapons master, this particular weapon does have a weak spot.

“Normally, the tonfa is made of oak and consequently is very sturdy,” Demura explains, “but the connection between the grip and the main body can be a source of weakness. This location should always be checked before each practice to prevent injuries. The tonfa can also be varnished, if desired, and should be cleaned periodically with a cloth moistened with olive or other vegetable oil.”

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Compiled by Raymond Horwitz
Photo by Laura Guerrier
  Today  

                                  How to Use Fighting Sticks: Three Stick-Combat Videos by Filipino Martial Arts Expert Julius MelegritoInducted into the Black Belt Hall of Fame in 2011 as its Weapons Instructor of the Year, Julius Melegrito holds a seventh-degree black belt in the Filipino arts. He also holds a taekwondo fourth-degree black belt, a third-degree black belt in combat hapkido and a second-degree black belt in tang soo do.

The creator of the Stix4Kids program as well as the Philippine Combatives System and the Philippine Martial Arts Alliance — an international organization devoted to the self-defense systems of his homeland — Melegrito operates Martial Arts International schools in Bellevue and Omaha, Nebraska.

In this roundup of Melegrito’s stick-combat technique videos, the Filipino martial arts expert covers three topics:

  • single-stick disarm
  • basic sinawali
  • redonda

Filipino Martial Arts Master Julius Melegrito on Single-Stick Disarms

“Your whole purpose in classical Filipino stick fighting is to hit your opponent until he’s out of the fight,” Melegrito explains. “In practice, you use your stick to his stick as close to his gripping hand as you can manage while staying safe, but in a real fight, you’d hit the hand. It usually makes him drop the weapon. Of course, in a fight, an attempt to hit his hand might miss, which is why you must practice follow-ups.”

FIGHTING STICKS VIDEO
How to Execute an Effective Single-Stick Disarm in Stick Combat

Filipino Martial Arts Master Julius Melegrito on Sinawali

“Sinawali, also known as two-stick drills, are very very important because they are a bunch of striking patterns,” Melegrito says. “These are really fun to do, especially when you do [them] with a partner.”

Melegrito then proceeds to describe the open strikes of basic sinawali, using his fighting sticks to gesture:

  • Strike 1: to left shoulder of the the opponent
  • Strike 2: to right shoulder of the opponent
  • Strike 3: to left knee of the opponent
  • Strike 4: to right knee of the opponent

“If you apply that [practice of fighting sticks] with a partner,” Melegrito explains in his stick-combat video demonstration of sinawali, “you want to make sure you have better control. You don’t want to hit too hard. … Your job is not to devastate the sticks and knock [them] out of [your partner’s] hands. Your job is coordination.”

FIGHTING STICKS VIDEO
How to Practice Sinawali for Stick Combat

Filipino Martial Arts Master Julius Melegrito on Redonda

In this third video, Melegrito demonstrates the redonda twirling drill for two Filipino fighting sticks! Watch as the Filipino martial arts master wields two Filipino fighting sticks so they look like helicopter rotor blades. Meanwhile, a training partner holds his own Filipino fighting sticks as contact guides.

FIGHTING STICKS VIDEO
How to Execute the “Redonda” Training Drill for Two Fighting Sticks

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by Raymond Horwitz, partially adapted from a Black Belt article by Robert W. Young

Julius_Melegrito_sticks_150px-OPTIn this exclusive look behind the scenes during a kali sticks photo shoot featuring Black Belt Hall of Fame member Julius Melegrito, you’ll learn how to engage a single-stick combatant and disarm him quickly and definitively. The technique is direct and focused, which fits with the approach classical approach to combat with Filipino fighting sticks.

“Your whole purpose in classical Filipino stick fighting is to hit your opponent until he’s out of the fight,” Melegrito explains. “In practice, you use your stick to his stick as close to his gripping hand as you can manage while staying safe, but in a real fight, you’d hit the hand. It usually makes him drop the weapon. Of course, in a fight, an attempt to hit his hand might miss, which is why you must practice follow-ups.”

KALI STICKS VIDEO Filipino Fighting Sticks Master Julius Melegrito Shows You an Effective Single-Stick Disarm

Follow-Ups in Fighting With Kali Sticks

Julius Melegrito’s approach to follow-ups involves using an empty hand — assuming, of course, that the opponent is not holding a second stick — to check the opponent’s hand right after it’s hit.

This move serves as “insurance” in Melegrito’s take on fighting with kali sticks: If the strike doesn’t work, he can prevent his opponent from bringing the weapons hand back into action. The Filipino fighting sticks instructor then has the option of immediately following up with a stick strike to the forearm, elbow, face, neck or some other available target.

A Modern Approach to Fighting With Kali Sticks

“In the modern arts, it’s OK to touch the stick,” Julius Melegrito says. “When the guy swings at you, you intercept his strike with a strike from your stick — aimed at his hand — then you grab his weapon close to his hand if he doesn’t drop it. Grabbing it allows you to use it against him or take it away.”

Part of the modern methodology for fighting with kali sticks is separating your opponent from his weapon, Melegrito explains. You can hit the hand holding the stick with the intention of making him drop it. You can also leverage it out of his hand using a twisting motion. Or you can use your stick to push his stick out of his hand in such a way that it goes flying!

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