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ISBN: 0-89256-204-8 $14.95

This complete guide to the basic skills and

techniques of the martial arts satisfies the
needs of anyone who wants to learn self-
defense and reach a peak level of physical
conditioning. Now men and women, children
and senior citizens, can employ the discipline
of the martial arts to enhance their safety and
develop the proper frame of mind for pro-
tecting themselves. Advanced forms of the
martial arts are also presented in detail for
those interested in going far beyond a basic
program of skills.
Beginning with a fascinating introduction to
the history and development of the various
martial arts techniques as adapted for a
Western audience, this book outlines the
steps that lead to the essential psycho-
physical preparation required for effective use
of such techniques. There are chapters to
meet specific needs and an alphabet of terms
to enhance understanding. The exercise and
practice program established here requires
only thirty minutes of concentrated self-
training each day.
Ron Van Clief unites ancient and contem-
porary martial arts theory to produce a prac-
tical guide, noteworthy for its inclusion of
specially adapted holds and postures for each
specific age group. He dispells the notion that
the martial arts are only for the strong, the
young, and the well-coordinated.
Over 300 detailed action photographs illus-
trate the movements, and, combined with the
clear and accurate instructions in the text,
give you a real understanding of why martial
arts have gained respect in Western as well
as Eastern cultures. The abilities of a martial
arts master can now become your abilities,
as you acquire the art thet 4as made Ron
Van Clief internationa!!y ‘amous as the
Black Dragon.
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THE MANUAL OF THE
MAGIK TI€@L
ARTS
RON VAN CLIEF

RAWSON, WADE PUBLISHERS, INC.

NEW YORK
Library of Congress Cataloging in Publication Data
Van Clief, Ron.
The manual of martial arts.

Includes index.
1. Martialarts. 1. Title.
GV1101.V36 796.8 81-8645
ISBN 0-89256-204-8 AACR2

Copyright © 1981 by Ron Van Clief

All rights reserved
Published simultaneously in Canada by McClelland and Stewart, Ltd.
Manufactured in the United States of America
Photographs by Bert Torchia and Bill Peck
Cover by Bert Torchia
Credits for movie stills and nostalgia photos:
Aquarius Films
Madison World Films
Silverstein Films
Assistants credits:
Dean Brockway, Melanie Beck, Ron Van Clief Jr., Jeffrey Craig
S. Filson, Danny Gwira, lvory Lewis, MauriceJ.Miller,
Glen Perry, Wilson Ramirez, Millie Tirado, Danny Witherspoon
Designed by Jacques Chazaud

First Edition
Wy Contents

1 Introduction to the Martial Arts 9

2 The Psycho-Physical Conditioning Process: 17

“The Warm Up”

3 Hand Techniques 25

4 The Black Dragon Blocking System 55

— Leg Techniques 71

& Strategy and Tactics 101

7 Self-Defense for Women 113

8 Self-Defense for Senior Citizens 143

9 Martial Arts Education for Children 153

10 Advanced Self-Defense 161

1 1 The Alphabet of Martial Arts 171

Appendix: The World Masters in Action Awards 181

Index 185
E MANUAL OF

MARTi€L
1. Introduction to the Martial Arts
(Origin, Objectives, and Principles)

hat are the martial arts? “Martial arts” is a collective term, meaning
VV the art of self-defense. In the following chapters, | will introduce
you to the basic concepts and principles of the four major forms
of martial arts—karate, kung fu, Tae Kwon Do, and aiki jitsu. Martial arts have
been around since the beginning of time; the dinosaurs became extinct, but
man survived because of his uncanny ability to adapt to the environment. Survi-
val is the first instinct of human beings. The dinosaur died because of its inability
to reason. Reason is the process of systematic logic and deductive analysis, and
logic is the byproduct of perceptual experience. Thus we have understanding.
Life is in fact a series of understandings and experiences. The environment dic-
tates to the organism what the behavioral pattern will be. A proper martial arts
training should teach the student to increase his or her human growth potential
during the life cycle. The martial arts are 90 percent mental and 10 percent
physical.
The word karate is Japanese for empty hand, and karate itself is a martial
art of unarmed self-defense in which blows of the hand or feet are directed
from poised positions. A special technique of breathing is used, and shouts
known as the “kiai” accompany the blows. But karate is more than simply a
method of combat. It is a highly developed system of self-discipline, positive
attitudes, and intense moral purpose.
The roots of the martial arts are in Asia: it was first used as a monastic
training, and later became a means by which Chinese peasants could defend
themselves against armed bandits. Karate as we know it today developed during
the seventeenth century on the island of Okinawa, the largest of the Ryuku chain
that stretches south from Japan to the East China Sea. For many centuries
Okinawa was ruled by a succession of regimes that banned the use of all
weapons among the populace. An effort to ensure control over the people, this
prohibition on weapons contributed in a major way to the rapid development
of the “empty hand” method of self-defense. A rural people whose lives were
paced by changing seasons and the harvest of their crops, the Okinawans wished
 to live peacefully, but without any weapons they felt insecure and vulnerable.
Their hands were the most readily available means by which to protect them-
selves, and thus they developed the “weaponless weapon.” Kung fu is said to
have originated early in the sixth century when a Buddhist monk, Daruma,
crossed the treacherous Himalaya Mountains—a landscape alive with outlaws,
cutthroats, and wild animals, and plagued by inclement weather. Daruma de-
veloped the technique to propagate his religious teachings in China. He ob-
served the movements and fighting habits of the great cats, other wild animals,
even the tiniest insects, and formed from his observations a method of self-
defense as natural as that of the animals themselves.
Fishermen and gamblers in coastal cities became especially well known
for their excellent striking and kicking techniques. Persons from the upper class-
es, also forbidden to use weapons, noted the techniques of self-defense
employed by the lower classes and sought to learn them, too. Over the years,
these techniques were refined and improved upon, and arranged in logical and
systematic patterns, but it was centuries before they were written down. Because
the martial arts were illegal, their study was conducted in secret, and information
was passed on orally from teacher to student. The close relationship between
karate teacher and student was developed in this way.
Throughout Asia many styles and philosophies emerged, but all kept in
common one element: the integration of the body and mind into a “weaponless
weapon.” Thus, in China, chuan fa or gung fu—the major Chinese precursor
of karate—sprang up. Elsewhere, as in Southeast Asia, other forms of the

10
weaponless weapon arose, for example, pentjak and silat. Gung fu and kung
fu are Mandarin and Cantonese terms respectively, and refer to the same art.
| will be using the two terms throughout the manual to familiarize the student
with both of them; but keep in mind that they have the same meaning. It is
often held that karate or a type of kung fu was introduced to Okinawa from
China during the T’ang Dynasty (A.D. 618 to 907). The ancient Okinawan style
of combat was called “Kempo.” But through the influences of the mainland,
Okinawan-style karate as it is known today was introduced somewhere between
1784 and 1903.
In 1915, karate was brought to Japan by Master Gichin Funakoshi. Another
Okinawan master, Chojun Miyagi, lectured and taught his art at Kyoto Imperial
University, introducing the Japanese to both the hard and soft elements of a
style of karate known as Goju. /u means fifty in Japanese, revealing that there
were originally fifty diversified hard and soft techniques of hand and foot strikes.
By 1930, when Professor Gogen Yamaguchi organized the first Goju federation,
Goju had become thoroughly Japanese. In 1955, Master Peter Urban, after long
study in Japan with Masters Yamaguchi, Mas Oyama, and Dr. Richard Kim,
brought the Goju style to the United States and organized the first American
federation of Goju stylists, under the title U.S.A. Goju. Masters Frank Ruiz and
Harry Rosenstein, disciples of Master Urban, broke off from the parent organiza-
tion in 1965 in order to start the Nisei Goju System. (The Japanese word Nisei
means second generation.)

11
 The metamorphosis of the Goju style is still continuing. In 1973, this author
founded and organized Chinese Goju in America. Chinese Goju is a further
development in the martial arts in the United States since it incorporates the
diversity of many related martial arts around the central core of the Goju style.
Chinese Goju is a total martial arts concept, combining the Eastern and Western
philosophies. The technique develops the personality of the student through
proper mental and physical conditioning. Martial arts ideology evolves with the
environment and is directly related to man’s phenomenal ability to adapt.
Chinese Goju combines Chinese and Japanese ideology with American in-
genuity, teaching fluidity and flexibility of both mind and body for full human
development.

Karate training is an experience that builds the body, strengthens the mind,
and enriches the spirit. The ultimate aim is to bring mind and spirit together
with the body in perfect unison—the Japanese word for this ideal oneness is
zen. The development of physical power through karate is less important than
the development of mental power and self-discipline. The emphasis on the mind
as well as the body serves to increase the karate student’s sense of awareness
and an ability to cope with the environment. One of the greatest assets derived
from karate training is the ability to know oneself.

12
 There are also other rewards. The karate practitioner who learns to function
under stress finds that he or she is better able to function well in normal cir-
cumstances too. The positive conditioning that results from proper karate train-
ing allows the student to remain calm and relaxed in any situation. Studies have
shown that pain is greater when a person is tense and that it decreases when
a person relaxes. Accordingly, the person trained to relax has an added measure
of confidence that is invaluable in day-to-day living.
Proper coordination of mind and body is the ultimate goal of the martial
artist. Once the beginner has mastered the basic physical mechanics of
technique, he or she is in a position to apply those techniques through coordi-
nated kicking and striking combinations. The development of fluidity and con-
tinuity is necessary to any student who seeks to become proficient in sparring
or actual combat. The ability to execute a particular technique is a small part
of the art of karate; the person who is physically superior does not always win
the contest. A strike or thrust at the wrong time can prove as detrimental as
not being able to execute any technique at all. Thus there are three elements
integral to power: speed, timing, and focus. Speed is achieved through training
and practice. Timing is acquired through sparring and “kata,” or the practice
of forms. Focus is the ability to hit the target with maximum concentrated energy.
Speed, timing, and focus are necessary for power; practice is necessary for
speed, timing, and focus.
The most important technique the student of karate must learn is blocking,
or the art of not getting hit. It is impossible to execute any technique if the student
is knocked out first. Blocking is the ability to thwart, impede, or deflect the
opponent's attack and prepare the attacker for a counterattack, or to position
him so that he can continue the attack. Basic blocking drills are practiced with
both hands simultaneously and in a shoulder-width stance. There are two basic
blocking systems—the hard blocking system and the soft blocking system. The
hard blocking system involves a high energy output of strength and force. The
attacker can be injured by proper execution of the hard block; however, such
a block is not always functional. The soft blocking system is particularly suited
to women and children because it involves a low energy output. The soft block
involves the use of the opponent's forward motion to deflect the attack and put
the attacker off balance. The saving of energy in using the soft block allows
for a maximum output of energy in the counterattack. It is useful, too, when
there are multiple attackers.
When the blocking techniques are executed correctly, counterattacks are
easier to perform. The block complements the counter by forcing the attacker
to commit himself. Hard blocks are used to stop an attack by force by injuring
the assailant’s striking limb—the shin, knee, or elbow. And, too, the shock of
the block gives a person time to counterattack. “Critical distance” is important
in blocking: when blocking, the movement is forward, the object being to keep
the opponent within punching or kicking range. The greater the distance be-

13
 tween a person and his or her opponent, the more momentum the opponent
has. But there are situations when a greater distance is advantageous; for exam-
ple, if the opponent is advancing, his weight at some instant is on the primary
or forward limb. This is the perfect condition for executing a sweep of the at-
tacker. The proper execution of the block and counter involves three compo-
nents: speed is required to stop the attacker; eye training is necessary to evaluate
correctly the opponent's distance and fighting stance; and focus is involved in
the ability to hit the target with maximum concentrated energy.
After the student, or karate-ka, has begun to develop a blocking system,
he or she is in a position to concentrate on hand techniques, which are invalu-
able in both sparring and actual combat. The hand is quicker and more accurate
than the leg; furthermore, the hand can be used effectively at close range, par-
ticularly in confined situations when it is impossible to use leg techniques. There

is virtually no situation in which a hand technique cannot be applied. In drilling

the basic hand techniques, the shoulder-width stance is used. Hand techniques
are executed in slow motion and at shoulder height. Strikes and punches are
focused and executed directly to the front. After the techniques have been prac-
ticed in slow motion, they are executed at full speed. Some commonly
employed hand techniques are the sunfist, the iron elbow, the iron palm, the
tiger claw, and the snake fist.
The legs have less dexterity than the hands, but leg techniques are stronger
and cover more distance. The student who wishes to become proficient in karate
must develop his leg techniques to the fullest extent. They are ideally used in
coordination with circular combinations in sparring and actual combat. In de-
veloping proper leg techniques, emphasis should be placed on the cocking posi-
-tion, called the “chamber,” in which the knee is raised. This is a preparatory

14
position for most kicking maneuvers. Emphasis also should be placed on the
bending of the supporting leg, to ensure balance. In sparring, a person should
never be farther from his opponent than a leg’s distance. For maximum applica-
tion, kicks should be extended from the stomach downward. The best applica-
tion of hand techniques, by comparison, is from the groin area upward.
Basic sparring or actual combat is an integral part of karate training. In
order to become proficient, the student must develop three component abilities.
The first is referred to as “maintaining critical distance,” and it involves the ability
to strike or kick the opponent at will. Next, it is necessary to create an opening.
To create a face opening, for example, the opponent should be attacked with
a groin or low-area kick, followed by hand techniques to the face area. To create
an opening in the low area—examples are the groin, knee, or stomach—a face
punch should be thrown and followed by a low-level kick. The third component

ability in basic sparring, or actual combat, is the block-and-counter application.

In the Chinese Goju, blocking and countering are done in one motion. The
Black Dragon Blocking System is the essence of the Chinese Goju System. This
drill teaches how to effectively block and counter your opponent's offensive
action.
All offensive and defensive techniques must be practiced until they become
completely automatic. Thinking is the pause between action and reaction—let
your body and mind flow together. Always remember that martial arts are a
science, subject to the laws of physics and physiology. Martial arts are the key
to inner freedom and positive emotional expression. Always look, listen, and
think. The golden rule for the study of self-defense is “Don’t get hit!” Avoid
getting hit with various blocking devices and evasive action such as sidestepping
and body shifting.

15
 All beginners are known as White Belts; Green Belts have at least six months
training, Purple Belts one year, Brown Belts one and a half to two years. First
Degree Black Belts must train a minimum of three years. A Red Belt requires
a minimum of twenty years.
There are six levels in the belt-ranking system in the Chinese Goju style.
There are also eight degrees of Black Belt and two degrees of Red Belt. The
first and second degrees of Black Belt mean you are a serious student. The third
degree is a qualified teacher; below the third degree is considered an instructor
(there is a great deal of difference between an instructor and a teacher). The
third degree is called “sensei” (pronounced CEN-SAY) and the sensei is the head
of the school. The fourth and fifth degrees are “master teachers,” whose position
is that of renshi. The color of the renshi belt is red and white. The sixth, seventh,
and eighth degrees wear red belts with a thin black line down the middle. These
levels are normally honorary degrees, reserved for martial arts educators. The
ninth and tenth degrees are the foundation of the system. This level is known
as kyoshi (pronounced KEyY-OH-SHE and means “Professor” in Japanese). It is re-
served for the founder or creator of the system.
But rank has no real meaning, being merely an evaluation of your mental
and physical abilities. Study not for rank, but for knowledge! The study of martial
arts can be a rewarding experience. Be sure to select a practical style and a
competent instructor. This manual will give you the ability to determine the
validity of a particular style and the quality of the instruction. In the past twenty-
five years | have seen and experienced many different forms of martial arts.
Every art has a distinct personality. Choose the style that works for you. Good
luck in your studies, and may the force be with you!

16
2. The Psycho-Physical Conditioning
Process: The Warm Up”

7: he study of the martial arts is a total effort of physical and psychologi-

cal energies concentrated for complete development. Psychology
may be defined as the study of the mind and of human and animal
behavior. Martial arts psychology is the study of the mind and of human nature.
Martial arts education gives us a greater insight and the ability for complete
emotional expression. Those of us who study the martial arts have gained not
only the ability to defend ourselves but the inner satisfaction that comes from
physical and mental harmony acquired through our training. These benefits far
exceed our initial evaluation of the martial arts. Karate, kung fu, and judo are
all psycho-sciences—sciences dealing with the mind and mental behavior.
The warm-up must be a combination of mental and physical drills that
modify the behavior patterns of the student. If learning is psychological inquiry,
then we must first understand our reasons for studying the arts of self-defense.
We are living in a dangerous society in which the national fear index is so high
that as people we exist in a state of virtual paranoia. Fear is not the only motiva-
tion, but it ranks very high. Still, it is my opinion that people are becoming
more aware of themselves and their relationship to physical fitness. Physical
fitness and nutrition are already household words. The government should insti-
tute a national physical fitness program that would include martial arts educa-
tion. Americans are No. 1 in sports and sciences. Why not have an overall
program that would start when children are in grade school and continue
throughout college and university? Right now in the United States today there
are over ten thousand schools of the martial arts; there are karate, Tae Kwon
Do, and judo clubs at most colleges and universities. It is up to all martial artists
to reflect a serious attitude toward the martial arts. Martial arts should never
be played with. Always train under supervision and never exceed your limita-
tions. Remember, we are all human and have limitations.
The training process starts with basic exercises to develop flexibility, speed,
and strength. Next in the training schedule comes the psycho-physical condi-
tioning process—the development of our human resources. Stamina, coordina-
tion, emotional content, and discipline are all necessary components for the
study of the martial arts. Our bodies are living machines that require mainte-

WwW
 nance, just like our cars, bikes, and skates. We need our bodies to last for a
lifetime, so we must take the best care of them possible. Exercise is maintenance
for our minds and bodies. Just like a car, we must be tuned up. Martial arts
can tune your whole body up. The mental and physical drills develop your
overall capacity for life. And everyone must learn how to relax to achieve any
benefit from martial skills.
There are numerous drills that teach how to breathe properly. Until quite
recently, the most popular methods for expanding muscle development have
been based on isometric and isotonic exercising—isometric refers to muscular
contraction through resistance without movement, i.e., exerting pressure against
an immovable object. This technique is advantageous for the development of
a specific muscle area, but is insufficient for developing the entire length of
a muscle fiber. In direct contrast to this principle is isotonics—resistance with
movement. By contracting a muscle against a moving object, the fibers are short-
ened and the workload is extended. But isotonics has a limitation, because as
the leverage advantage increases, there is a loss of resistance. For instance, when
an exerciser lifts a weight, the resistance is lessened as his momentum increases
and the lever action of his arm is shortened.
Through the principle of isokinetics, this loss of resistance is eliminated.
Simply speaking, isokinetics, as demonstrated through the application of the
martial arts, provides exercise wherein the resistance to the contracting muscles
is constant and more uniform throughout the full range of motion. If your intent
is to build endurance and increase your cardiovascular capacity, reduce the
resistance and perform your repetitions rapidly. Physiologically speaking, mar-
tial arts are the perfect exercise. The resistance factor builds strength while at
the same time the sustained, rhythmical motion increases and maintains car-
diovascular and respiratory involvement—another reason why the study of the
martial arts is the ultimate in modern exercising.
The ideal exercising session should last ten to fifteen minutes, followed
by practice of form and technical application. When you start the process of
keeping physically fit, you must realize that it is a continual process of maintain-
ing yourself. It is not hard to get in good shape; it /s hard to stay there. And
remember, the older you get, the harder it is to get in shape and to stay in shape.
Once you get in shape, it is best to stay that way for life.
Exercise can be used as a gauge by which to estimate your physical abilities.
Never over-exercise; it is wise to do everything in moderation. Before starting
martial arts or any program of physical conditioning, it is best to have a physical
checkup by your doctor. The next step is to find a competent instructor. Be
careful when selecting a place to study. Although there are many names for
the places where we study our art, the most common is the dojo. The word
“dojo” is Japanese in its origins. Tae Kwon Do or Korean karate students call
their place of study the “dojang,” kung fu people call their temple a “kwoon.”
It really is the same place and is sacred to all students of the martial arts.

18
 Finally, there is no perfect form of martial arts. After all, it is people who
make a system work, not the system that makes the people work. So, study
to develop your own potential, not to imitate or compete with anyone. Let go
of all ego and your energy will continually flow. Physical maintenance is a
lifetime occupation. Relax and open your mind to be receptive to the art and
the environment. It is a mistake to assume that practice makes perfect. First,
there is no perfection, and second, it is proper practice that achieves technical
ability. The initial conditioning of the martial arts student is aimed at achieving
a proper mental attitude. It is helpful for students to think of the human body
as a machine: the arms and legs, for example, can be thought of as spokes
in their relationship to the wheel. With this in mind, the martial artist begins
the tedious job of conditioning his or her body. The combination of exercises
that follows will make your body more agile and more powerful.

19
 THE PUSH-UP

Opening Posture—The push-up is a tremendous

overall exercise that develops the shoulders, chest,
back, and upper arms. Stand with your heels together
and hands next to the outside of your body. Before
you start your exercise, it is most important to relax
your mind so that your body can work without men-
tal tensions. Remember to start slowly and breathe
correctly. Always breathe normally; never hold your
breath when exercising. Breathe in through your
nose and exhale through your mouth.

Starting Position—Your back should be straight to

achieve the maximum benefit of the push-up. Hands
should be placed directly beneath the shoulders for
proper muscle-group usage. Start to lower yourself
slowly to the floor. You should be inhaling as you
start the downward motion.

Maximum Output Phase—As soon as you touch the

floor with your chest, immediately start to exhale as
you push your body up to the full extension of both
arms. It is essential to coordinate the pushing action
with the exhalation. Try to develop a natural flow
with the upward and downward motions. It is impor-
tant to try to do as many repetitions as possible every
time you do any exercise. In the early stages of
psycho-physical training, the number of repetitions
should be from 8 to 10 for each set. You should not
rest more than 1 minute between sets of exercises.
Stamina and endurance are more mental than physi-
cal. Psycho-phyiscal training conditions the mind
and body to work together for maximum efficiency.

20
 THE JACK KNIFE

Starting Position—The jackknife is the most im-

portant ofall the exercises for total physical fitness.
The main areas of development are the mind and
the abdominal muscles. The abdomen or “mid-
section” is the most crucial part of the body. Lo-
cated here are many vital organs that control the
body's health and well-being. The stomach, liver,
kidneys, bladder, bowels, intestines, etc., all carry
on their owner’s best interest in this region. A few
minutes a day spent in abdominal exercise will
pay you splendid dividends. There are over 50 dif-
ferent exercises for the abdomen, but the jackknife
is one of my favorites. This exercise starts in the
supine position with the legs as close together as
possible. Place both hands palm upward on the
floor above your head. The objective is to bring
the hands and feet as close together as possible.
It is very important to start your hands and feet
upward at the same time.

Maximum Output Phase—As you start up, re-

member to keep your feet as close together as pos-
sible. Inhale as you start up, exhale as you start
down. Try your best to touch your fingers to your
toes. This exercise takes a lot of mental determina-
tion and physical stamina, but is definitely worth
the extra effort.

21
Important Points to Remember—Always start out to me: “Il would rather burn out than rust out!”
slowly when doing any exercise. The body needs What he meant was that he would rather keep
time to warm up and increase the flow of blood physically fit than fall apart from non-use. Here
and oxygen to the brain. Blood and oxygen are are the Martial Arts of Motivation:
the fuels of the brain. If you remember something
Let’s go! (Initiation Stage)
of physiology and anatomy, you will know that
Keep going! (The Life Process)
the muscles hold your organs in place and make
There is nothing else! (Reality)
it possible for them to perform their functions. |
often visualize the organs of four-legged animals
as being hung from their backbones like clothes In gaining good health, we must first achieve a
from a line where they have been hung to dry. discipline. We must know in our minds that we
The animal finally stood on end and became man. want to improve our condition, and realizing this,
Raise the clothesline on end and the clothes sag we must conscientiously take the steps to achieve
into a limp pile. Similarly, a person’s organs our goal. Keep at it, every day, a little at a time.
would pile up at the bottom if there were not mus- Make it a part of your daily routine, a period well
cles to hold them in place. This is why someone spent, and in short order you will see and feel the
who neglects himself physically will finally own results of your improvement. In time, encouraged
a protruding abdomen, a prolapsed stomach, by these obvious gains, you will discover that you
fallen bowels, or some other similar condition. sincerely enjoy the exercise. And in due course
Which brings us to the Burnout, Rust-out Theory: (not as long as you might think), the effects of your
My mentor, Grandmaster Peter Urban, once said discipline will becomea reality... .

22
 JUMPING ROPE

Start slowly. Remember for exercise to be beneficial,

it should be both rhythmical and sustained, not
stressful. Jumping rope takes a lot of concentration
and coordination if it is to be done correctly. It is an
excellent cardiovascular exercise—jumping rope
makes the heart and lungs work harder. | recommend
the alternate step to start, because the physical mo-
tion is similar to jogging. Jump only high enough to
clear the rope. Keep relaxed and breathe normally.
The key components of smooth rope jumping
are eye, hand, and foot coordination. It is good to
jump initially without a rope, simulating the wrist and
arm movements, keeping feet together while pushing
off the balls of your feet. Your contact with the floor
should not be heavy, but light, as in bouncing. You
can do it in a small amount of time (research shows
that 10 minutes of rope jumping equals 30 minutes
of jogging in the area of cardiovascular efficiency).
You can exercise the calves, thighs, abdomen, arms,
chest, shoulders, back, heart, and lungs, all at the
same time. The study of the martial arts is an exciting
and fun way to good health.

In addition, the psycho-physical program in this book will help you to:
. Develop coordination
. Develop stamina (the “iron will”)
. Develop muscle strength and tone
. Develop quickness and agility
mM. Trim excess weight.
BWNH
24
3. Hand Techniques
(Form and Practical Application)

hel and techniques are any technique applied with the hand, forearm,
elbow, fist, and fingers. It is not necessary to callus your knuckles or
any such craziness—proper techniques executed to a vulnerable area
will be effective. You have used your hands since birth, so you have natural
coordination. Start with a positive attitude. Your hands are naturally faster than
your legs; leg techniques are much slower and harder to perfect, and should
only be used when moving closer to your attacker. We call the distance between
you and your attacker “critical distance.” Stay out of range of attack until you
formulate a plan of attack. And finally, never become one-sided—always prac-
tice techniques with both hands.
| teach fifty hand techniques, from beginner to black belt. Remember, you
will always be able to use hand techniques. It is not the same with leg
techniques, which depreciate with age. The Chinese Goju System uses 60 per-
cent hand techniques and 40 percent leg techniques. Most kung fu systems are
80 percent hand techniques and 20 percent leg techniques (kung fu styles are
not noted for powerful leg attacks). The hand techniques discussed in this chap-
ter are the best of both worlds, karate and kung fu.

25
 THE SUNFIST
(Rotary Punching)

1. The sunfist originated from Shaolin boxing

(Chinese karate). It was sometimes referred to as
the rocket punch because of the tremendous
speed and power generated. Speed is equal to
power; the faster the punch, the harder the impact
force. Speed amplifies hit power. Shoulder-width
stance is the starting position. Power is increased
with mechanical precision synchronized with
mental (high energy) input. Remember, true mar-
tial arts are 90 percent mental and 10 percent
physical.

2. To start rotary punching, place both hands directly

in front of you at shoulder height. The right hand
should be placed at full extension, which is at
chest height and centered above the left hand.
The left hand is positioned near the base of the
right elbow. After completion of the punch, each
hand is placed alternately to the centerline posi-
tion before extension of punching hand.

26
3. The shoulders should not move when punching.
Keep your back erect. Punch directly in front of
your chest, not in front of your shoulders. Punch-
ing from the centerline goes directly to the target
with maximum muscle action. Centerline punch-
ing automatically blocks an opponent's punch
without any wasted motion. Always punch with
a target in mind. Be sensitive and alive; become
your technique.

Supplementary Progressive Resistance

Progressive resistance is used to increase muscle den-
sity and stamina development. Proper muscle con-
traction aids in full-power delivery of technique.
Weight training is an endurance-building exercise.
Stamina drills increase the iron will or positive mental
attitude IRON WILL TRAINING.

A. Stand in a shoulder-width stance with elbows in

and knees bent slightly. Relax and concentrate
totally.

B. The right hand moves directly out at shoulder

height to centerline punching position. NOTE:
Left hand automatically moves to centerline for
the next punch and protection.

27
 C. As the left hand punches, the right hand retreats
to centerline guard-and-strike position. Keep
shoulders straight when punching. Also, extend
the punching arm until the elbow locks.

D. The extending and retracting arm is aligned with

the center of the body. Work at a fluid motion
until the punch is perfected mechanically.

NOTE: In the centerline position, the perfect syn-

chronization of punching, circular extension and re-
traction is maintained. The sunfist is the fastest and
most effective punch in the Chinese Goju System.
“Practice makes perfect.” —RVC.

28
 THE SUNFIST

STEP ONE: Shoulder-width stance.

Both arms in closed-fist chamber.
NOTE: Forearm parallel to ground—knees
are not locked, legs are bent. Relax.

STEP TWO: Right sunfist punch at shoulder height.

Left hand is in chamber.
Snap the wrist upward as you strike.
NOTE: Centerline punch; chamber is like
a compressed spring.
 STEP THREE: Left sunfist punch at
shoulder height.
As left hand punches, the
right hand moves to chamber
NOTE: Centerline punch,
punch with speed and power.
Don’t cheat on technique for
speed.

STEP FOUR: Completion of exercise.

Back to original posture.
Always execute techniques correctly.
NOTE: Fist is relaxed until
moment of contact.

30
 Practical Application
A. Grab and punch to face are simultaneous with
a forward motion.

B. Grab and punch to breathing system are simultaneous

while moving forward.

31
 THE TWIN SUNFIST

Form—Proper punch alignment without shoulder

movement. Snap the elbows and wrist with speed.
Punch, don’t push.

NOTE: Executed from fighting stance. Use for-

ward motion to amplify hit power.

Practical Application
A. Targets: chest and groin. NOTE: Best applied
with sidestepping motion against frontal attack.

32
B. Targets: chin and stomach. NOTE: Commonly used in
combination with kicking attacks. Sometimes followed
with a sweep, throw, or take down.

THE ELBOW STRIKE

STEP ONE: Shoulder-width stance with both hands in

chamber position. Then execute the right
elbow strike; Gpposite hand is in chamber.
Note that the hands are open.
STEP TWO: Keep the arm that is striking parallel to the
ground to complete the technique. Always
execute techniques with both arms. As the
left arm strikes, the right arm goes to
chamber.

Practical Application
A. Best used with grab. Targets: chin, jaw, face,
neck.

B. Sometimes used after ducking a face attack. Elbow

strikes work well with knee attacks.
 THE HOOK PUNCH

STEP ONE: Keep elbows close to body. Maintain

shoulder-width stance. Relax and
concentrate on correct execution of
all techniques. Complete concentra-
tion is necessary to technique de-
velopment.

STEP TWO: Use complete body motion. Keep

elbow higher than fist for maximum
effect. Total commitment with all
technique.

35
 Practical Application
A. The elbow, shoulder, hip, and leg work to-
gether. Hook power comes from snap action.

B. When using hook punch, keep opposite

hand up to guard position. Hook works wel:
with elbow follow-up. Punch, don’t swing.

36
 THE IRON PALM

The iron palm is a most effective weapon for self-

defense. It is a combination strike and push, some-
times referred to as a “shock shove.” This strike
is basically a control device. The strike is made
with the whole hand (palm and fingers). All hand
techniques are practiced in the shoulder-width
stance. Practice in slow motion until you have
grasped the mechanical design.

1. The shoulder-width stance is designed to

minimize physical stress in practice of Chinese
Goju drills. Bend your legs and breathe nor-
mally. Both hands are placed in the chamber,
palms facing up. (The chamber is the prepara-
tory position for all basic hand techniques.) Al-
ways keep your forearms parallel to the floor.
The chamber loosens up the shoulder and arm
muscles.

2. Extend your arm forward, making sure that the

forearm slides against the side of your body.
The finished position of the iron palm is when
the hand is centered and at face height. Always
keep your fingers straight, thumbs tucked in so
as not to incur injury. Exhale as the hand is
moving forward. Remember to center your
technique. As the right hand retracts, the left
hand starts its forward motion.

37
 3. While the left hand is moved forward, the right
hand goes to the rear, back to the chamber
position. It is the coordination of forward and
backward motion that amplifies the impact
strike force. Remember, always relax. Make
sure that all techniques are centered at com-
pletion stage.

Practical Application
A. When used to the chin, the iron palm affects
the spinal cord through the neck. It can be
used to the face, stomach, and/or groin, and
works very well with the grab and pull devices.
Always maintain a constant forward motion
when executing any technique.

B. The ribcage is very vulnerable to the iron palm,

especially if the arm is raised when striking.
A chaimber is not necessary to execute the iron
palm. The power comes from the momentum
created by body movement.

Important Factors: When using the iron palm,

strike with the whole hand, not just the palm edge.
The fingers and hand give a larger strike area, thus
making it very effective. Put your whole body be-
hind the initial shock and follow through. The iron
palm works well with the tiger claw (described
below).

38
 THE MONKEY ELBOW

1. When grabbed from the rear, don’t resist the

force! Relax and concentrate on proper execu-
tion of technique.

2. Step to your rear with elbow strike. It is not

necessary to look at the attacker. Just react to
the slightest touch—sensitivity and awareness
are the key.

39
 3. The right hand pushes the left arm to the rear
with a thrusting motion. The target is the
breathing system.

Application Against
the Middle-Section Front Kick
A. The grab and the downward elbow are deliv-
ered together while executing a sidestep mo-
tion. NOTE: Grab is to back of leg.

B. The downward elbow should be to the knee

or thigh muscle for optimum effect. NOTE:
Grab is to the side of leg.

40
 THE SNAKE FIST

There are fifteen different animal styles, the

Snake being one of my favorites. Snake fist
techniques come from the Chinese and Southeast
Asian forms of martial arts. The snake is powerful,
swift, and flexible. Emphasis is placed on total
control of your opponent—movements of the
snake are fluid power in motion. The snake attacks
only the vital areas, such as the eyes, throat and
sides and back of neck. There are a variety of
choking and restricting techniques in the numer-
ous snake forms; needless to say, there are very
few kicking techniques. Remember, speed and
accuracy are the key points.
| first encountered the Snake style in Hong
Kong in the late 1960s. My good friend Jason Pai
Piao introduced me to Sifu Leung Ting. Sifu is the
Cantonese word meaning teacher; in ancient
China, anyone who did anything well was con-
sidered a sifu. Sifu Leung Ting was an older gung
fu brother of the “little dragon,” Bruce Lee. From
Sifu Leung Ting | learned the basics of the Wing
Tsun style of gung fu. The movements of the crane
and snake are woven into the Wing Tsun style.
Wing Tsun is the most practical of the gung fu sys-
tems for self-defense. The style was created by a
woman approximately two-hundred years ago;
there are over seventy-five different forms of
Chinese gung fu in existence today.
Remember, detail is important in the techni-
cal design of the Snake style. Be patient, and al-
ways relax when training.

41
 THE SNAKE FIST

Snake fist techniques are practiced in the Chinese

Goju shoulder-width stance. Spread your feet to
the width of your shoulders and slightly bend your
legs. Relax. This particular snake technique is
called the white snake. Start out in slow motion.
The fingers are not rigid until the point of contact.
Remember to keep one of your hands in the guard
position when striking with the opposite hand.
Stay loose. Exhale as you strike, inhale as you re-
tract your hand. Always practice techniques with
the right and left hands.

Side View (right side)—Note the slight bend

at the knees. Try to keep your back and shoulders
aligned. Always keep fingers together and thumbs
tucked to prevent self-injury.

Side View (left side)—Develop a flow with

your technique. Be continuous and maintain the
rear guard when executing any front hand
technique.
 Practical Application
of the Snake Fist
in Self-Defense
Defense against the front wrist grab. Don’t re-
sist the wrist grab, move directly forward with
the snake fist to the throat.

Snake Fist Attack

and Control

A. Movements of the snake are not just hand

movements but combinations of direct foot-
work supplementing rapid hand attacks. To the
snake stylist, the eyes are very important as di-
rection finders. The eyes gauge the distance
between you and your opponent; your feet
close the distance. Remember to remain out-
side the critical distance until you decide on
your personal plan of action.

B. The left hand and foot are synchronized with

the forward motion principle. Attack the eyes
and grab your opponent's arm to increase con-
trol, which leads to technical accuracy. It is
most important to be accurate in both offensive
and defensive mechanisms. Remember to
maintain a tight grab on your opponent's
forearm. Notice that the forward motion is an-
gular in position. It is best to be on the side
that is not protected. Keep going!

43
 . After attacking eyes, the left hand moves
downward in a slapping motion. At the same
time, the right hand strikes the throat. The left
hand grabs to immobolize your attacker's right
hand. Remember to be in constant forward
motion. Practice this first in slow motion, then
at a fluid speed. Always attack the weak and
unguarded areas of the body, e.g., the eyes,
throat, groin, and sides and back of neck.
Never stop your forward motion; even if you
miss your target, continue. The snake is pa-
tient!

. Always practice techniques with both arms to

acquire a natural flow of technique. Continue
the attack with the eye strike by the left hand.
Sometimes you can try to execute both strikes
to the eyes and the throat at the same time.
Double-hand striking is a standard technique
in the Chinese styles but is uncommon to the
various karate styles.

44
 The Snake Fist Attacks in Motion

A. Be creative! Maintain a natural, continuous

flow when executing any martial arts
techniques. NOTE: Wrist lock, knee strike,
and eye attack all take place at the same time.

B. Use angular forward footwork to evade a front

kick attack. Sidestep and counter with ankle
grab coordinated with eye attack. Keep going!
Snake fist techniques work very well with ka-
rate techniques.
 THE TIGER CLAW

Movements of the tiger combine ripping and tear- face, and groin area. The great masters of gung
ing techniques with constant forward motion. The fu were capable of ripping bark off trees with their
tiger is fierce in combat—the Chinese say: “Never tiger claw techniques.
disturb a sleeping tiger.” | first saw the Tiger style The Black Tiger of Shantung was a great kung
in the early 1960s, in Chinatown in New York. fu disciple who had trained at the famous Shaolin
Sifu Wai Hong of the Tiger-Claw School was dem- Monastery in Canton, China. It is commonly be-
onstrating a prearranged set. | was impressed with lieved that all forms of martial arts came from this
the grace and technical proficiency of a “real” monastery. About four thousand years ago, great
gung fu master. Form is what the karate people gung fu masters documented the existence of the
call kata and gung fu people call sets or forms. Black Tiger style. During this period, “death
The terminology is different, but the feeling and matches” determined the effectiveness of the vari-
technical expression stem from the same mental ous styles.
and physical output. Remember, the tiger main- Remember that martial arts are a weapon. Al-
tains total control with the use of the palms and ways be careful in training; never strike the vital
fingers. Movements of the tiger attack the throat, areas duringa training session.

46
 THE TIGER CLAW
(Movements of the Tiger)

1. All hand techniques of the Black Dragon Gung

Fu System are practiced in the shoulder-width
stance. This is a stationary drill. Always keep
the elbows close to the body to protect the rib-
cage area; this also gives the forward motion
additional spring. The tiger claw can be exe-
cuted with one or both hands at the same time.
Relax and concentrate all of your energy to
your fingers and palms. The tiger claw works
well with the iron palm technique in combina-
tion. First the palm, then the claw! Remember
to exhale as your arms extend and inhale with
the pulling motion.

2. Exhale through the mouth and inhale through

the nose. Try to keep your shoulders and back
straight. Concentrate your Chi (intrinsic
energy) to the palms and fingers. The tiger claw
is a ripping and tearing technique of the Black
Tiger style.
 3. Practice the tiger claw with both hands, then
each hand separately. Maintain a constant
flow of motion with emotional content. The re-
sult should be fierce and unrestricted in total
mental and physical expression. Think like a
tiger! When your mind and body become one,
you can flow with the various movements of
the tiger.

Practical Application of the

Tiger Claw in Self-Defense
Drill 1
A. This is one of the psycho-physical drills in the
Chinese Goju System used to develop techni-
cal proficiency. Remember always to move to-
ward your opponent; never back up. Backing
up allows your opponent to gain momentum,
and thus increases the force against you. Stick
to your opponent like glue. Relax and concen-
trate on the attacker's initial move. Good eyes
can detect offensive actions before actual
physical contact. Always seize the opportu-
nity!

. Start your angular forward motion as your op-

ponent starts the punching action. Your left
hand goes directly to the throat with a tiger
claw. At the same time, the right hand rips the
left forearm. In the Chinese Goju System both
hands are used simultaneously, one hand
blocking and the other hand attacking. Eye,
hand, and foot coordination is necessary to ac-
quire complete technical ability. Remember,
never stop your forward motion.

48
C. Continue the constant forward motion! Main-
tain a tight grip on the throat with the left hand.
After releasing your opponent's left arm, exe-
cute a ripping technique to the back of the
thigh. This technique creates high-intensity
pain—ripping and tearing techniques attack
the bio-computer (brain) and the structure of
the body. It is possible to rip muscles, tendons,
and ligaments, which causes permanent struc-
tural damage.

D. Continue the forward motion with a down-

ward tiger claw to the face. Always strike with
the palm, then tear with the fingers. Note how
the forearm is in contact with the body. Main-
tain constant pressure with the forearm and el-
bows for total control. No matter what
technique you use, make it work for you.

Practical Application of the

Tiger Claw in Self-Defense
Drill 2
A. Always make eye contact first (action and
reaction). Remember the constant forward
motion theory. As your attacker makes physi-
cal contact, you start your bio-computer.
Relax and concentrate for total creative free-
dom.

49
 B. Pivot 90 degrees in the direction of your at-
tacker. At the same time execute the double
tiger claw to the neck, shoulder muscles, or
chest in a forceful downward motion. Your
hands and feet must work together! Concen-
trate on the ripping and tearing feelings. Re-
member to use your body weight to amplify
the initial shock of impact.

C. Follow through with a double tiger claw to the

throat and groin area. Squeeze the throat with
the fingers of the right hand and grab the groin
area. Always maintain a constant forward mo-
tion when on the attack. Rememberto practice
the tiger claw with the emphasis on the palm
and the fingers.

Practical Application of the

Tiger Claw in Motion

Practice the movements of the tiger while moving

forward—the forward motion amplifies the hit
power tremendously. Note that one hand is high,
the other low, to maintain total protection during
the execution of all hand techniques of the tiger
claw. If your left leg is forward, your left hand
should be executing the tiger claw. Equally, when
your right side is working, you must coordinate
the right leg to react simultaneously.

50
 MOVEMENTS OF THE TIGER

1. The movements of the tiger are incorporated

into the Chinese Goju and Black Dragon Gung
Fu systems. Note the aplication of the double
tiger claws to the bio-computer and the groin
area at the same time. Remember that mental
attitude is just as important as technical profi-
ciency. When moving forward with a double
tiger claw, always keep shoulders and back
straight. The elbow and arm and hand muscles
add to the final effect of the technique.

2. Choke the throat and rip the shoulder. Keep

going! Use footwork to close the critical dis-
tance. Always stay as close as possible to your
attacker to minimize his technical abilities.

51
 3. Rip the throat and groin at the same time. Note
the forward motion: be on the side of your at-
tacker, not in front. The side forward motion
uses the whole body to increase the total hit
power. Hit power means the effectiveness of
your technique!

4. Rip the eyes and attack the stomach at the

same time. Coordination is the key factor in the
proper execution of this technique. Try to be
creative in executing the different applications
of the tiger claw. Remember the laws of emo-
tion and motion. Technical ability means free-
dom to experience the choice of technique
fluency. All technique must flow like water!

5. Grab the throat and the groin area at the same

time. Make sure that you have a tight grip on
both areas of attack. Angular forward motion
is crucial. Never waste any techniques; use
only what has been tried and tested. A known
quantity is a technique that is effective. Un-
known quantities are fantasy technique and
have not entered the world of reality.

52
6. Coordinate the tiger claw with a wrist grab to
pull your opponent into the critical distance.
Keep your forward motion fast and light. Never
be rigid in motion. Techniques work if you
have practiced sufficiently. Practice your hand
techniques every day. Technical skills are not
permanent; they must be maintained with
daily practice. Remember, patience and prac-
tice are the golden rules ofthe martial arts.

7. Bring your right forearm downward to the

chest and grab the throat. Maintain constant
forward pressure to increase the effectiveness
of all your techniques. The Tiger style is a very
effective form of gung fu for self-defense.

Points to remember:

Constant Forward Theory

Speed and flexibility
Footwork
Coordination of hand and eye
range-finding devices
Chinese Goju is one of the few karate sys-
tems that employ animal forms and karate
techniques to create an effective, harmonious
blend of technique variables. | teach animal
forms to white belt beginners and advanced
Black Belts. Never waste any physical energy.
Always let your technique flow like an electri-
cal current.

53
54
4. The Black Dragon
Blocking System (Form and
Practical Application)

T he Black Dragon Blocking System is a combination of blocking

techniques coordinated with offensive hand techniques. Simply, the
first rule of martial arts is “Don’t get hit!” In most traditional forms
of the arts, blocking is taught as an independent motion from attacking. The
mechanisms of blocking and countering must be executed simultaneously for
maximum effect. Imagine a street situation where you are hit in the head with
an iron pipe. No matter how good your martial skills are, they are of no value,
because you have been seriously injured first. So remember, Don’t get hit! For
optimum effect, soft blocks should be coordinated with hard hand techniques.
The most common mistake made is to neglect effective blocking mechanisms.
Always try to relax, even in stressful situations. In general, most styles of
martial arts are deficient in blocking technique training. You may be great when
it comes to throwing techniques, but how are you at blocking hand and leg
techniques with your face?
Blocking must be practiced daily to be maintained. The Black Dragon
Blocking System is simple in concept and practical application. It should be
practiced in front of a mirror or with a training partner; practice the blocking
form in slow motion until technical proficiency is acquired. There are three types
of speed in the martial arts: Slow motion is the learning speed; fluid motion
is the practice speed; full speed is the maximum speed possible for each student
in a life-and-death situation (reality).
Always relax and breathe normally when practicing any martial arts
techniques. Remember, never cheat yourself when executing techniques!

55
 FORM AND TECHNIQUE

Opening Posture—Right hand is clenched in a fist while

the left hand is open with the fingers extended. The feet
should be spread at shoulder width for central balance. The
legs should be bent slightly for shock absorption. NOTE:
Your ankles and knees are the shock absorbers. Relax and
look directly in front of you.

1. The left hand executes the rising block and the right
hand executes the sunfist. Both hands are in the center
of the body and aligned. A straight line could be drawn
from the blocking hand through the punching hand and
down to the belt level to ensure proper centerline posi-
tion. The left hand is open and the right hand is closed.
Block and punch simultaneously. The right hand exe-
cutes the palm-up block before. . .

56
2. The right palm grabs as the left hand executes the iron
palm strike. Note that the body always shifts in the
direction of the strike force. The body shift is ac-
complished with toe and heel pivot action, not by pick-
ing up the feet as in stepping. Remember, body shifting
evades attack and generates more instant strike force.
Pivot back to original posture. Grab and palm together!
Shift, don’t step.

. The left hand is closed and delivers a sunfist to the face

as the right hand executes the low palm block. Re-
member the centerline rule! Instant strike force is in-
creased by proper elbow and wrist action. Snap the
elbow and wrist for proper technique extension. Keep
shoulders straight. The strike and the block should be
together. Breathing system: exhale with strikes and
blocks; inhale between techniques.

. The left hand executes the side palm block and the right
hand delivers a sunfist to centerline target. NOTE: Sun-
fist has variable targets: face, chest, stomach. For best
results, use high block with low attack, low block for
high attacks. Relax, breathe, and concentrate. Move
with a constant flowing motion to develop technique;
speed will come after technique is refined through prop-
er practice.

57
 5. The right palm-up block and left hand move to center-
line guard position. The palm-up block stops the attack
as the guard hand executes the counter. NOTE: The
palm-up block (sometimes referred to as the slap block)
is a defensive mechanism against upper- and middle-
section attacks. This block is also a throat or eye attack
when necessary. Finger jab to centerline.

6. The right hand grabs as the body pivots into left sunfist
to face target. This shift is the same as the second move-
ment of this exercise. Always shift in the same direction
as your strike force. Remember to look in the direction
of your attacks! Always be aware when practicing the
Black Dragon Blocking System. Remain loose, hard,
and fast. RELAX.

NOTE: The Black Dragon Blocking System can be prac-

ticed in various methods, with or without a partner. Ad-
vanced students develop all techniques on the wooden
man. Important factors are:
Breath control
Footwork
Blocking
Attacking
Economy of motion—executing the correct technique
without wasting time and energy. Whenever possible, ob-
serve proper form in technique delivery.
“Plan your work, work your plan!” —RVC

58
 THE BLACK DRAGON
BLOCKING SYSTEM
Practical Application: Part 1
Application of rising block with sunfist

A. Ready Posture: Immediate eye contact and a

relaxed body. The back is straight. Feet are
spread to a shoulder-width stance; keep legs
slightly bent.

B. Initiation Phase: The block and punch start at

the same time. Notice the blocking arm is
parallel to the ground when making initial con-
tact with attacker’s arm. At this time, footwork
is applied to increase the strike force when
moving forward with attacks.

C. Maximum Effort Phase: The rising arm deflects

the punch upward as the opposite hand deliv-
ers the sunfist to the middle or low target. It
is a general rule to step forward with the same
side, punching to generate more instant strike
force. The assistance of the lower torso, par-
ticularly the hip and knee action, creates per-
petual forward motion.

59
 D. Evaluation and Analysis Phase: Van Clief’s
Law: Speed + Timing + Focus = ME (Maxi-
mum Effort). Remember the Creation of Force
Principle: human engineering is the use of the
complete body with limitless human potential
(e.g., hip, leg, arm, and back action). NEVER
BACK UP!

Practical Application: Part 2

Application of palm-up block
with iron palm strike

A. Ready Posture: Always look at your opponent.

You can’t block what you can’t see. Relax, and
try to sense your attacker’s initial attack before
it develops.

B. Initial Contact Phase: Reach out with your

block to stop the attacking arm. Notice oppo-
site hand is in guard position. The palm-up
block must strike the attacking arm in a down-
ward motion. Remember the centerline
principle.

60
C. Follow-Up Phase: Continue the downward
motion of the palm-up block to expose the
upper torso to counterattack. Start your for-
ward motion in preparation for the iron palm
strike to face or neck target. Shifting the body
forward evades the punch and increases coun-
terattack variables.

D. Maximum Effort Phase: Snap the left iron

palm to the face as you pull down with the
grab to intensify the instant strike force. Main-
tain a constant forward motion (CFM) while
delivering all technique. The attack must be
an explosion of mechanical and spiritual ex-
pression.

E. Variation: Note that important factors are

speed, proper technique, positive mental at-
titude (PMA). Always protect your centertine
and develop technique flow. Keep going!
Never back up.

61
 Practical Application: Part 3
Application of low palm-up block
with upper sunfist strike

A. Natural Body Position: Always relax and

never anticipate moves. Eye contact means the
ability to evaluate and analyze the complete
situation. Important factors: pattern recogni-
tion, classification, human engineering, crea-
tive imagination.

B. Maximum Effort Phase: As the attacker moves

forward with the low-area punch, execute a
right low palm to the attacker’s wrist or forearm
while executing the left sunfist punch to the
face area. The block and the punch should be
considered one movement. Remember to snap
your wrists and elbows to full extension.

62
C. Evaluation and Analysis Phase: Shoulders are
straight and back erect. Make sure of proper
block and counter centerline alignment.
Never waste motion! Exhale as you block and
counter as a general rule. NOTE: Thumbs are
bent for protection.

NOTE: Hand positions are interchangeable

(blocks and counters can be applied simultane-
ously with either hand). Always commit yourself
fully with your technique.

———————— sss ==

63
Practical Application: Part 4
Application of the side palm block
with middle sunfist punch

A. Ready Posture: Remember the critical dis-

tance—the range at which your attacker can
hit you with hand or foot. Stay outside the criti-
cal distance until you evaluate the situation.
Always be aware!
B. Initiation Phase: Move in! The side palm block
is most effective against upper body attacks
(chest and face). As your opponent extends his
arm, maintain good defensive posture with a
constant forward motion. Let your opponent
commit himself. At this point, he is most vul-
nerable—don't back up!

C. Contact Phase: Timing is a very important fac-

tor in counterattacking. The purpose of open
hand blocking is to deflect attacks. Open-hand
blocks are soft blocks. Block soft and hit hard.
Notice the rear hand is held high to protect the
face while the opposite hand is low to guard
the lower areas. As contact is made, shift body
into the body punch to generate power.

D. Maximum Effort Phase: As you deflect the at-

tacking punch to the outside of your body,
commit yourself totally to counterattacking the
exposed area. The breathing system attack is
the best counter for the upper body assaults.
Proper footwork with counterattacks mini-
mizes the risk and increases the safety factor.
NOTE: Proper form in execution of technique is
essential. The palm block can easily be connected
to a grab for maximum control of your opponent.
Always maintain technique flow to keep your op-
ponent off balance. Never rush yourself! Keep
good training habits.

Practical Application: Part 5

Application of the palm-up block
against upper body punching

A. Ready Posture: Remember to keep your guard

up. It is best for your attacker to hit your arms
instead of a vital area, e.g., face or breathing
system. The best defense is a good offense—
always press your attacker! Keep elbows in to
protect the stomach and ribcage area. Relax,
and wait for the correct moment to explode
with technique.

B. Contact Phase: The palm-up block—some-

times referred to as the reverse slapping
block—is generally applied with the arm that
is closest to your attacker. The shock of the
block is combined with a constant forward
pressure on the attacking arm. This block is ac-
tually an attacking device. The constant pres-
sure created temporarily traps your attacker's
arm, which exposes his upper body to coun-
terattack. Remember to reach out with this
block.

65
 C. Maximum Effort Phase: The block and
counter are applied at the same time, although
the actual block is a split second before the
punch. The power in the sunfist punch comes
from the constant foward motion of the body
with the punch. As this is the maximum effort
phase, combine the positive mental attitude
(PMA) with the proper technique for increased
instant strike force (ISF). Let your techniques
explode with energy!

D. Reverse Angle: Sometimes the palm-up block

is applied with the inside arm instead of the
outside arm. Under actual combat conditions,
keep constant pressure on your opponent for
best results. There are no general rules of com-
bat, except to maintain a constant flow of
technique at your opponent. Keep going until
you defeat the attacker. Always have a positive
mental attitude and never back up. Side step,
body shift for optimum effect. Be flexible!

E. Constant Forward Motion (CFM): Important

factors are:
Body positioning (maximum control)
Mechanical momentum (follow-through)
Footwork (raised heel)
Total commitment (maximum effort)
Technical perfection

66
 Practical Application: Part 6
Application of palm-up block and
grab with sunfist attack

A. Sunfist punch to neck or chin with maximum

snapping motion. The palm-up block is used
to deflect attacks to the face and chest areas.
Slap the attacking arm with the back of your
open hand, making sure to tuck in the thumb
to avoid injury. Rule 1: Don’t injure yourself
by improper techniques.

B. As soon as you slap the arm, immediately grab

to ensure complete control. The grab increases
the instant strike force when combined with a
pulling motion. Pull your attacker in the direc-
tion of the striking force. At this time, the ideal
follow-up technique would be an elbow strike
with the the same hand that executed the sun-
fist punch. CTF (Constant Technique Flow).

C. The punch is more devastating with the pulling

action! Notice the position of the arm being
pulled. At this point, you can block your at-
tacker’s counter- or potential counterattack
with his own arm (trapping hands). It is ideal
to strike the neck, chin, or jaw with the sunfist
in an upward snapping motion. Always keep
your eyes on your attacker. When punching,
punch—don’t push! Keep good _ training
habits. Remember that grabbing techniques
are control mechanisms. Example: grab/
punch and grab/kick devices.

67
 D. Important factors are:
Wrist and arm projection (elbow action)
Shoulder motion and back erection
Hip and suspension system synchronization
(footwork)

Van Clief’s Law of INSTANT STRIKE FORCE (Hit Power)

Snap + Whip + Positioning = Maximum Punching Power

(arm) (body) (footwork)

(Relax until the moment of impact)

68
 Ze e

NS
ZGa7.

69
 Zz

70
». Leg Techniques
(Form and Practical Application}

i eg techniques are much harder to execute and to maintain at a proficient

level; however, there are many advantages in leg-attacking mechanisms.
It is my belief that leg techniques should be used only when closing dis-
tance or if an opponent moves out of hand range. Styles that tend to have more
than 50 percent hand techniques are not really applicable to the life of the martial
artist. Some of the Korean forms of the martial arts are not, in fact, very practical.
Most Korean styles, such as Tae Kwon Do, Moo Duk Kwan, and Tang Soo Do,
are imbalanced. To be realistic, a form should incorporate more hand
techniques than leg techniques. Remember, our bodies are continually chang-
ing! Of course, there are special individuals who excel in kicking techniques—
champions like Bill Wallace have mastered these techniques after years of con-
stant practice.
Kicking can be a great asset to your personal arsenal if taught and practiced
properly, but it is extremely hard to maintain one’s kicking abilities. Very few
people can execute high-kicking techniques with power. It is most efficient to
kick to the lower area because low kicks are harder to block. Hands and legs
should work together to cover the full range of your opponent’s body. Hands
work best when applied to the groin area and upward. The legs work best when
applied to the stomach area and downward to the suspension system (the hips,
legs, and feet).
Remember, always warm up before starting kicking drills. It is most impor-
tant to keep your hands up in a guard position when executing these techniques.
Never extend your kick fully with full speed; knee injuries are to be avoided.
Always kick something! Kicking pads or heavy bags are good training aids. Kick-
ing techniques should be practiced for three to four days at a stretch to achieve
satisfactory results.
Bruce Lee, whom | met in the early 1960s, believed that kicking techniques
should only be used when closing the distance. It was during this period that
| first became interested in the Chinese martial arts. Bruce introduced me to
the Wing Tsun style of kung fu. | will always remember Bruce; he was a friend
and martial arts brother. Although Wing Tsun is 90 percent hand techniques,
the kicking techniques are devastating. Most kung fu styles specialize in various
low-area kicking attacks. It is up to you as the student to select the techniques
of your choice. Whether they work is the bottom line! Be patient and always
relax.

71
 THE FRONT HEEL KICK

. The shoulder-width stance is the Chinese Goju

standard for all hand- and leg-technique drills.
Your legs are spread apart to shoulder-width
position, with knees bent for shock absorption.
Notice arm positioning; the elbows are in, pro-
tecting your body. Fists are clenched and re-
laxed.

. The chamber position is the preparatory posi-

tion for all kicking. As the knee rises, the sup-
porting leg is bent for balance and shock ab-
sorption. Pull your toes up in preparation for
the downward snapping action. Kicking power
is the combination of the hip, knee, and thigh
coordinations.

72
3. Remember to keep the supporting leg bent for
balance. Keep your back erect while kicking.
The strike is made with the heel or the bottom
of the foot, whichever is most comfortable.
Hands do not move while kicking! This kick
is never applied above groin height.

4. Always bring leg back to chamber after kick-

ing. Proper chambering allows for combina-
tion kicking. Remember that hands do not drop
while executing kicking maneuvers. The front
heel kick can be delivered as a thrust or a snap
kick. Example: Thrust kick—sledgehammer;
snap kick—whip action.

5. Place the kicking leg back to the original posi-

tion in preparation for opposite-leg kicking ac-
tion. Practice all kicks with both legs. Start with
the right leg, then the left. Begin slowly to
develop proper mechanical execution. Never
start at maximum speed!

NOTE: Keep in mind that kicking above groin

height is very dangerous. The front heel kick is an
excellent counterattack or defense against any
kick above the waist. When your upper body is
being attacked by a high kick, counter by kicking
the supporting leg of your opponent. The groin,
thigh, knee, and shin are the targets because they
are difficultto protect.

73
 Variations in Practical Application

A. Attacking mechanisms low-medium-high for

maximum effect. This is an advanced form of
Black Dragon Gung Fu. Blocking + kick-
ing + punching = complete mechanical utili-
zation. Note the wrist lever applied in combi-
nation.

B. Grab the wrist and attack the suspension sys-

tem at the same time. Prepare to deliver a face
punch with the right hand as the right foot is
lowered.

C. Jerk your attacker into the sunfist to increase

the instant strike force potential. Always keep
your eyes on your opponent.

74
D. As soon as your hand starts to retract to center-
line, attack the suspension system again with
your opposite leg. Practice kicking with both
legs!

NOTE: Photographs B, C, and D are the combina-

tion of grabbing and kicking, when moving in a
forward motion with hand techniques. Inertia is
constant amplification of hit power with perpetual
motion (constant motion principle).

THE LOW ROUND

(INSTEP OR SHIN) KICK
Leg Attacks

1. Starting Position: the shoulder-width stance,

with elbows in protecting the middle section.
Relax and bend both legs for maximum sup-
port and balance. Remember your stance must
never be wider than your shoulder width.
Wide stances are dangerous!

75
 . As your right leg rises to the chamber position,
both hands remain in guard position. Notice
the toes of the chambered leg are pointed
down. The chamber also guards the groin area.
Keep the supporting leg bent for balance and
shock absorption. Proper chamber action in-
creases hit power.

. Rotate the hip and leg forward at the same time

as the pivoting action of the supporting leg. The
supporting leg is most important in generating
maximum effort kicking. Pivot on the ball of
the foot and rotate the heel in the same direc-
tion as the kick force line.

. Notice that the hands do not drop, as that

would expose the upper body to attack. The
kicking action must be like a whip snapping.
Keep the toes pointed down throughout the en-
tire kicking action. Kick with determination.
Remember: Motion + Emotion = ME (high
energy Input).

76
5. Bring the kicking leg back to the chamber
position to complete the kicking action. Re-
member, you are your technique! All
techniques are alive and full of energy. Kicking
action must extend and retract in one complete
fluid motion. Slow kicking is self-destructive.

6. Place, not drop, your right leg back to the origi-

nal starting position. Practice this technique at
least 10 times on each leg. To change to the
opposite side, just move your left leg to the rear
and start again. Practice kicking with both legs
regularly.

Practical Application of the Low

Round Kick

A. Set your opponent up! Start your forward mo-

tion and attack the leg that is closest to you.
Look into his eyes so as not to telegraph your
intentions. Use a grabbing technique when-
ever possible.

i
 B. The grab and the kick are executed at the same
time. Kick his thigh, knee, or calf to upset his
balance. At all times, keep your guard up.
Never expose yourselfto attack!

C. Continue your constant forward motion by de-

livering a front heel kick and sunfist with a grab
and pull technique. All three techniques
should be delivered at the same time for
maximum effectiveness. Chinese Goju stresses
total body control.

Important Factors:

1. Practice all techniques with correct form.

2. Never drop your guard.
3. Leg techniques are used to close the distance
between you and your target.
4. Lowkicks are best—to groin, thigh, knee, calf,
and ankle.
5. Kicking techniques are hard to master. They
must be practiced more than hand strikes to
achieve reasonable proficiency. Kicking with
accuracy and power requires constant prac-
lice:

78
 ae a - 5 Cer
awe
ae

Oe _ _— 7 & - oe oe .
ee. cower

THE MONKEY KNEE

The monkey knee is a favorite among Chinese Full Contact Championship in Taiwan, was com-
Goju stylists. In an actual street situation, the dis- pleting a film entitled The Iron Monkey. The mar-
tance between you and your attacker is quite tial arts choreography was really unbelievable!
close—normally all the action takes place within In Hong Kong there are over two thousand
3 to 4 feet. In 1974, | was in Hong Kong on loca- schools of the martial arts. The most popular forms
tion filming The Black Dragon’s Revenge. My sifu, of gung fu are Wing Tsun, Hung Gar, White
Leung Ting, introduced me to Grandmaster Chan Crane, Monkey, Eagle Claw, and Pak Mei (the
Chou, “the Monkey King.” Sifu Chan Chou has White Eyebrow). In September of 1974 | was ap-
trained many kung fu superstars who are famous pointed U.S. representative for the Chung Wah
in the United States, such as Chan Goon Tai and Martial Arts Association in Hong Kong and shortly
Jason Pai Piao. When | visited the famous Shaw afterward | was elected director of gung fu studies
Brothers Studio, | met Bruce Lee’s mentor. Direc- of the United States. President Chan awarded me
tor Chiang Cheh was responsible for two of Lee’s a lifetime membership in the Chinese Martial Arts
early films, The Big Boss and Fist of Fury. Chiang Association of Hong Kong. My experiences with
Cheh is the Alfred Hitchcock of Hong Kong! | the Monkey style have been of great spiritual be-
found him quite interesting. nefit to me. The “spiritual monkey” is one of the
Chan Goon Tai, who is an exponent of the Shaolin temple styles of gung fu. “Practice makes
Monkey style of gung fu, and won the All Asian perfect!”

ier
 THE MONKEY KNEE

. The shoulder-width stance is the standard post-

ure for executing all Chinese Goju techniques
for beginners. Relax and breathe normally. Re-
member to keep legs slightly bent and always
keep elbows close to the body. Try to keep
both hands in a guard position when executing
leg techniques. The most common bad habit
of martial artists is to leave the head unpro-
tected when delivering kicking attacks. Never
let your hands drop; it is an invitation to get
hit in the bio-computer. Keep those hands up
at all costs! Close your fists without tension.
Stand erect and look directly to your front.

. Bring your right knee up to the level of your

belt. Start slowly, only increasing speed after
the basic mechanics are understood. It is the
speed, not the power, of this technique that
makes it effective. Bend the left leg slightly to
maintain balance. Remember not to drop your
hands throughout this kicking drill.

80
3. As you lower your right leg to the floor, raise
the left knee to the level of your belt. It will
be difficult at first to maintain your balance, but
be patient. Practice the monkey knee in a flow-
ing motion. Remember always to keep your
hands in the guard position when delivering
kicking attacks.

4. Side Angle—Note the slight bend in the left leg

to help maintain balance. The toes of the right
foot are pointed directly downward to the
floor. Pulling the foot to the parallel position
puts stress and tension on the foot and calf
muscles. This tension slows down the forward
motion of the foot. Relax your shoulders and
fists. Remember to develop a constant fluid
motion when executing this technique. If the
technique is used correctly, your opponent
won't even see it!

Practical Application of the

Monkey Knee in Self-Defense
A. Sometimes you will have to react without see-
ing your attacker. This is a drill to prepare you
for that time. Confrontation therapy is the code
name for reality! Relax and breathe normally.
Learn to react to your senses. Be aware!
B. Always move in the direction of your attacker.
Your right leg drops back to a position of shoul-
der width. At the same time your right arm
starts to circle both of your attacker's arms. This
technique derives from the Snake style of gung
fu. Your left hand goes directly to the guard
position.

C. The right hand executes the coiling snake

technique, your forearm wrapping around
both of the attacker’s arms. Try to bring your
arm as close to you as possible. The coiling
snake maintains a tight hold on both arms.
Maintain the tightest grip you can. Remember,
constant total pressure brings total control.
Start to pull your attacker in your direction in
preparation for your next technique. Let’s go!
Keep going! There is nothing else!
You control your attacker with the bicep
and forearm lever. The coiling snake is a form
of “trapping hands,” a famous Wing Tsun
technique. My first experience with trapping
hands was with Bruce Lee, who was an expert
in “chisao,” the Wing Tsun hand and foot sen-
sitivity drill. The trapping hands technique
would allow total control with total offense
capabilities.

D. Now that you are in total control of your at-

tacker, use the monkey knee to the lower ab-
domen or groin area. Always keep your toes
facing the floor when delivering the monkey
elbow. The “Thai boxers” are masters of the
knee technique. The tightness of your hold,
combined with the upward thrust of your
body, increases the hit power potential. Re-
member always to keep your toes facing
downward when delivering the monkey knee.
The monkey knee should be practiced at least
20 times per training session.
 THE FRONT KICK

1. Starting Position: The shoulder-width stance

with legs slightly bent. Relax and breathe nor-
mally. Always keep your hands in the guard
position. Then visualize in your mind’s eye
what the technique looks like. The front kick
is used against an opponent's frontal attack; it
may also be used to close the “gap.” Kicks are
primarily used to close the distance so that
hand techniques can be used to finish off your
opponent.

2. Bring your right leg up to the chamber position,

remembering never to drop your hands from
the guard position. Always bend your support-
ing leg to maintain balance when kicking.
Keep elbows close to sides for protection and
offensive mechanisms. Inhale as you start to
bring your leg to chamber. Shift your body
weight to center on the supporting leg. Don’t
tense up! It is common to lose your balance
when practicing these drills. The practice of
bringing the leg to chamber loosens the leg,
hip, and stomach muscles. The chamber is a
necessary component of all — kicking
techniques.
 . Slowly extend your right leg to centerline posi-
tion. Make sure that you do not straighten the
supporting leg when executing any kicking
mechanisms. Always practice _ kicking
techniques in slow motion until technical abil-
ity is acquired. The chamber position pushes
the foot forward with increased speed and
power. Always bring your leg back to the
chamber position after completing any kicking
techniques. The shin and foot protect the sus-
pension system from attack when you kick.

. Side View—Note that the striking surface is the

ball of the foot. This kick should be practiced
to the middle and low areas for maximum effi-
ciency. Keep your hands in the guard position
when executing any hand or leg techniques.

. Side View—Always bring your kicking leg

back to the chamber position. The chamber
position enables the Chinese Goju student to
deliver 12 different kicking maneuvers easily
from the same chamber. Always relax and
breathe normally.

84
 Practical Application of the
Front Kick in Self-Defense

A. Start the bio-computer! Relax and breathe nor-

mally. Let’s go! Keep going! There is nothing
else! Immediately make eye contact to analyze
the situation and variables. In self-defense it is
the speed of the reaction that is of utmost im-
portance. Speed is equal to power!

B. Without resisting the wrist grab, bring your

right leg directly to chamber. Maintain eye
contact throughout this self-defense training.
Remember, if you can’t see it, you can’t block
It.

C. Your leg must shoot forward to the target area

without hesitation. The chamber is the cocking
position for all leg techniques in the Chinese
Goju System. Remember to escape the wrist
grab by pulling your elbows in and pulling
your forearms toward you. This maneuver is
an aiki jitsu technique—aiki jitsu being the art
of the Ninja. The Ninja were the intelligence
agents of early Japan, trained in the martial arts
of karate and aiki jistu. The Ninja were the “in-
visible assassins,” commissioned by the feudal
warlords for secret missions. We call aiki jitsu
“escape and evasion” training. The internal ro-
tation of the hands creates a lever on the at-
tacker’s thumbs. The pain is so intense that the
attacker must let go of your wrists.
After you break the grab, continue the
counterattack with the double tiger claw
technique. The front kick works best when
applied to the middle and low sections of the
body. Remember, the toes are pulled back for
protection of the kicking foot. In the street you
will have on shoes or sneakers to protect the
toes. When you kick, fully commit your hips,
legs, and foot in a constant flowing motion.
There are two types of kick: the snap kick and
the thrust kick. The snap kick is used like a jab.
The thrust kick is the power technique. Snap
and thrust kicks serve the same purpose. Re-
member to use only what works for you!

85
 THE SIDE KICK

The side kick is used primarily in karate forms,

such as Tae Kwon Do, Shotokan, Kempo, Shorin-
ryu, and Okinawa Goju. | can personally attest to
the validity ofthe side kick as being most effective.
During the early 1960s, champions like Joe Lewis,
Louis Delgado, and Toyotaro Miyazaki became
national and international grand champions be-
cause of their effective side kicks.
The side kick can be used as both an offen-
sive and a defensive mechanism. The side thrust
kick is much stronger than the side snap kick. Al-
ways keep your hands up when delivering kicking
techniques, and always practice kicking with both
legs to achieve a natural body flow. The Reverend
Ronald Taganashi of the Zen Karate Clan had the
best flying side kick | have ever seen. He could
deliver the flying side kick in the street or ring with
maximum effectiveness.
Master Taganashi is a master Ninja, who
teaches fifty different Oriental weapons. | studied
the art of Japanese Goju with him for about three
years. He was an excellent kataman and could
spar quite well; |once saw Taganashi kick his op-
ponent out of the ring at a karate tournament. |
believe his power comes from his strong spiritual
and mental commitments to zen and the martial
arts. Master Taganashi was a great inspiration to
me in my formative years—lI shall always re-
member the days of the 1,000 side kicks with
Taganashi!

86
 THE SIDE KICK

1. The opening posture is the side shoulder-width

stance. Your body is at a right angle to your
target. Line your shoulder up with the target.
Remember always to keep your hands in the
guard position while delivering kicking
techniques. Look in the direction of your
target, but not directly at it, so as not to tele-
graph your movements in advance. Relax and
breathe normally. Think first, then react.

2. Bring your right leg directly into chamber.

Keep your eyes on your attacker. Pull the
chamber tight to protect your suspension sys-
tem. Note the bend in the right leg for balance.
 . Slowly extend your leg in alignment with the
shoulder line to the target. Always practice
kicking techniques in slow motion so as not
to incur self-injury. The heel and the bottom
of the foot are the ideal surfaces for contact
against the human body. Some styles use the
blade of the foot to kick with. | don’t recom-
mend this as an effective method of side kick-
ing—the blade is not as strong as the heel, nor
as durable. Keep your hands up.

. Always bring the kicking leg back to chamber

before lowering to the floor. Make sure your
knee is at the level of your belt. Inhale as you
chamber, exhale with delivery.

. The finish position is the side shoulder-width

stance. Keep your elbows as close to your body
as possible. | recommend 10 to 15 repetitions
of the side kick on each side every day. This
is how the side kick is practiced at a training
session. First in slow motion, then at fluid
speed.

88
 Practical Application
of the Side Kick

A. Pick out your target and align your body. Keep

out of range until you have a plan; then take
advantage of every opportunity.

B. Close the gap with a grab. Start the cocking

(chamber) action with a rear cross step moving
forward. Keep supporting leg bent.

C. Always keep your eyes on your opponent.

Concentrate on proper heel thrust while mov-
ing forward. The grab works very well with the
side (thrust) kick.

89
 Target Variables

A. Supporting leg is bent and heel is pivoted in

the direction of the kick. Power is created by
proper technique with a positive mental at-
titude. MOTION WITH EMOTION IS USE-
LESS! Target is the compressor (the breathing
system).

B. Rear hand is in guarding position in prepara-

tion for countering attack devices. Pull your at-
tacker into the thrust power. Target is knee
and/or lower thigh muscle.

C. Use kicks to the lower areas; they are difficult

to block and evade. Proper hip rotation into
the direction of the thrust increases the total
impact. Low kicks open your opponent's de-
fense to face, neck, and chest follow-ups.
Targets are groin, hip, and/or attacker's rear
leg. Combinations work best.

Countering the Side Kick

A. Remain calm and ready to start your forward

motion. Keep hands up for maximum protec-
tion against counterattacks. Maintain total eye
contact for proper evaluation of attacker.
B. The block and chamber for kicking device are
done simultaneously. Rotate the hip com-
pletely forward while bringing the leg to the
kicking position.

C. In this situation, the elbow up and the reverse

palm block are combined to increase effec-
tiveness. Deliver a low round kick to the groin
or supporting leg. Use double block to double
grab for control.

Countering the Face Front Punch

A. Constant practice is necessary to maintain a

good level of technical application. Karate
technology best utilizes total mental and phys-
ical abilities. The brain, the lungs, and the legs
are the best targets when attacking.

B. The essence of Chinese Goju is constant for-

ward motion (CFM) synchronized with the
proper technique. A reverse chop changed
into a grab neutralizes the face punch and to-
tally exposes the low area to attack.

91
 The Side Kick in Motion

A. Always set your opponent up! Look directly

forward into his eyes. Don’t ever look at your
target. In the Chinese Goju System we try al-
ways to use both hands and legs in offensive
and defensive maneuvers. Some gung fu styles
call this kick the “tiger tail.” Relax and concen-
trate on your target.

. Start that constant forward motion with the

right leg by stepping in the direction of your
attacker. At the same time, your left leg goes
directly to chamber in preparation for the side
kick. Also, this chamber protects the groin and
the suspension system. Make sure that you
close the distance as swiftly as possible. Keep
going!

. As your knee rises to the chamber position,

reach forward with the left hand and grab your
attacker's right hand. This grab is a trapping-
hand maneuver—it does not allow the at-
tacker the use of the hand for defensive or of-
fensive mechanisms. Always keep your hands
in the guard position. This can never be
stressed too much. Keep those hands up!

92
D. Extend your side kick and pull with your left
hand. Always pull your attacker in the direc-
tion of the total impact force, and always use
a tiger claw for the grab. Concentrate on the
grabbing and chambering drills in training ses-
sions. It is best to practice this technique with
a partner; first on your right side, then on your
left. Always start out in slow motion, then fluid
motion. Never practice with a partner at full
speed; one misdirected technique can injure
a person for life. The first rule of training is to
be careful. This offensive side kick should be
practiced at every training session with at least
20 repetitions on each side. Don’t forget to
work both sides.

THE ROUND KICK

1. Never kick without an exposed target; and al-

ways point your knee in the direction of the
target. Use proper footwork to set your oppo-
nent up. Never take your eyes off your oppo-
nent!

93
 2. Proper chamber protects the lower region
while executing kicking techniques. Always
move forward with leg attacks to generate
more hit power. NOTE: Hand closest to at-
tacker initiates a grab to arm.

. Pull your attacker into the full rotation of the

hip and leg extension. NOTE: Supporting leg
is bent and supporting heel has rotated 180°
forward. Always hit your target with the instep.

Application in Sparring

. The round kick is ideal against frontal attacks.

Low-kicking techniques are devastating in
street situations because the groin and leg are
rarely protected.

. As you Start the forward motion, the chamber

guards the low regions. The grab is a standard
maneuver in the Chinese Goju System. Pull
your opponent into the direction ofthe force.

94
C. The instep or shin is appropriate when execut-
ing the round kick. Try to keep your body erect
when executing kicking techniques. At this
point, an elbow strike to the back of the head
would be the logical follow-up technique.

THE HOOK KICK

1. Setting up the target. Keep rear hand high as

guard.

95
 2. Moving forward with cocking action step.
Keep legs bent when kicking.

3. Proper chamber. Both hands in defensive post-

ure. Supporting leg is shock absorber.

4A. Snap the hip, knee, and leg forward. At this

point, whip your leg back to strike.

96
4B. (Reverse Angle.) Pulling your leg back in a
snapping motion.

5. Keep hands in guard posture throughout kick.

Fast hip action.

6. Coming back to chamber after kick develops

combination techniques.

NOTE: The hook kick is sometimes referred to as

the reverse heel kick. This technique can be exe-
cuted with the heel or the bottom of the foot. The
hook kick and round kick work well in combina-
tion. Stress speed and snap.

97
 Practical Application
A. Relax and let your body flow with the
technique. NOTE: Front hand is low, rear
hand is high—Chinese Goju standard!

B. The hook kick is most commonly applied in

combination with techniques like the jab and
iron palm. NOTE: Rear cocking step.

C. Proper chamber for maximum effect. Support-

ing leg is the shock absorber and must be bent
throughout all kicking methods.

D. Whip your leg out and snap it back! Impact

force is generated by proper hip, leg, and foot
action. Set your attacker up!

98
99
100
6. Strategy and Tactics
(Confrontation Therapy)

| et us first define strategy in martial arts terms. Strategy is the mental

plan of action. Tactics are the physical devices that enact the
Speed + Timing + Focus = Maximum Effort (S +T+F =ME. The Natu-
ral Law of Martial Arts Science). Self-defense is the ability not to get hit. In
a survival situation, the first natural instinct is to survive at all costs. There
are basic martial arts principles that cover the art of strategy. In order to get
the maximum efficiency from each student who undergoes a confrontation,
trauma, behavior modification conditioning is necessary. The psycho-physical
cycle of self-defense is reconditioned to enact the proper reflex actions. Simply
put, with correct and scientific martial arts conditioning, students can allow
their bodies to react to each stimulus with a logical, scientific, and efficient
self-defense mechanism.
Most styles of the martial arts are quite limited. The practitioners are not
permitted to seek knowledge from forms or styles other than the one in which
they are currently at work. It is essential that all styles merge and standardize
the strikes and techniques of each individual form of martial arts. | have been
involved in the martial arts for over twenty years and have formulated various
principles of self-defense. Having been a participant and competitor in over
a thousand different martial arts events internationally, in a nutshell, | would
say: “Use only what works for you; try not to imitate advanced technique.”
Let’s start with the basic laws of martial arts application:

101
 THE VAN CLIEF LAWS
OF MARTIAL ARTS SCIENCES
Chinese Goju is my secret, | bear no arms! May God help me if | ever have to
use my art.
Love is our law.
Truth is our worship.
Form is our manifestation.
Conscience is our guide.
Peace is our shelter.
Nature is our Companion.
hie
pea
lic?
BRR Order is our attitude.
8. Beauty and perfection is our life!
Chinese Goju is a total martial arts concept, combining the Eastern and Western
philosophies. Martial arts ideology evolves with the environment and relates directly
to man’s phenomenal ability for adaptation. A proper martial arts education prepares
the individual student with the basic tools of life, above all, creative imagination and
systematic logic. Every style of the martial arts has something valid to offer so far as
practical application is concerned. In order to be valid, a martial art must be effective
in self-defense situations. Effectiveness is determined by the outcome of such an en-
counter, the winner versus the loser. If you have survived a life-and-death situation,
you are a winner! Self-defense can simply mean not being in the wrong place at the
wrong time. This is where the natural laws of cause and effect apply. If you stay out
of trouble, you won’t have to get out of trouble. Once you get into trouble, it is hard
to get out! Martial arts students excel when it comes to staying out of trouble; martial
artists know full well the pains oferrors in logic.
But remember, martial arts should on/y be used in emergency situations. Always
take your studies with the utmost seriousness. Proper practice, using correct behavior
conditioning patterns, minimizes the chance of self-injury during a life-and-death situa-
tion. Such a situation is sometimes referred to as “reality” by the students of the martial
arts. There are no superior styles, there are only techniques that work and techniques
that don’t work. Martial arts films have depicted martial artists as supermen. Again, there
is no superman, but there is supernormal. Supernormal defines the martial arts student
who has come to terms with his or her relationship to the world we live in.
Unless you actively practice martial arts, it is impossible to benefit from the mental,
spiritual, and physical aspects of the art. Listen to your instructor and analyze what you
observe. If you see an instructor trying to teach a senior citizen a flying side kick, you
must then question how practical the form or style is. Each particular style should fit
the individual student; every technique should be engineered for that person. Martial
arts is for everyone, for different purposes. Chinese Goju has become my way of life.
It has helped strengthen my character and increased my human growth potential. Having
total control of your actions and destiny will solidify your growth potential.

102
 THE VAN CLIEF METHOD OF TECHNICAL
APPLICATIONS CHART

Reality Land Fantasy Land

Simple Definition: ANYTHING THAT Practical Definition: ANYTHING THAT
WORKS! DOESN’T WORK!

. Regular practice is necessary to main- 1. The belief that practice isn’t necessary
tain skills. to maintain and acquire new skills.
NO INPUT equals NO OUTPUT. The condition is called T.R. (Terminal
EQUATION | + O = APPLIED SKILLS. Relaxation). Martial arts students call
this disease the Plain Old Laziness!
. Analyze and memorize how. all
technique looks during applications to 2. Some advanced students no longer
ensure proper form. Correct form in practice basic blocking techniques.
execution does not waste energy. Blocking is more important than at-
Technique should be smooth and tacking. It doesn’t make any difference
sharp in application. Always ask ques- on the street if you are a Black Belt or
tions of your instructor or teacher. White Belt. If you are hit first in a vital
Never cheat on practical application. area, you will not be able to counter-
Every push-up, punch, and kick pre- attack.
pares you for confrontation therapy.
3. Some schools don’t practice self-
. That martial arts are 90% mental and defense. We call this the “bad think-
10% physical is the truth! If your bio- ing. ”

computer (brain) is conditioned prop-

erly by your instructor, your physical
potential is increased. When a student
doesn’t understand the origin and pur-
poses of martial arts, he can only be
misdirected. Martial arts are for in-
creasing one’s growth potential and
understanding.

103
 ATTACK ZONES
There are three areas that should be considered the attack zones:
1. The Bio-computer (the human brain)
2. The Compressor (the heart, lungs, vital organs)
3. The Suspension System (foot, ankle, shin, knee,
thigh, and hip).

Attack plans should include techniques to all three zones. Kicking techniques to Zones
2 and 3 are most favorable; kicking techniques to Zone 1 are neither logical nor practical.
It takes a great deal of proficiency to kick to the head area with maximum power—
thousands of repetitions are necessary to perfect such techniques to Zone 1. It is my
considered opinion that hand techniques work best in most self-defense situations.
Technique should be practical in application and simple in concept in order to
get the most benefit from the execution. Stay in reality land! Understand that self-defense
and traditional martial arts are two different total concepts. In self-defense there are no
rules, whereas in traditional forms there are rules of physical conduct. Real self-defense
means total input, without restrictions. A person who is good at sparring in the dojo
would not necessarily be effective in the street.
In general, most schools of martial arts do not practice self-defense. Rather, they
practice a prearranged drill called “ippon kumite,” which teaches the proper execution
of techniques and footwork. But ippon kumite is too prearranged in concept and applica-
tion. The ippon teaches the student how to react to the attacker’s first offensive move-
ment. To be effective, a style must react before the attacker makes his first move! Ippon
kumite is normally practiced without realistic blocking/countering mechanisms applied.
Ippon techniques are generally used for demonstrations and exhibitions, not self-
defense. Creative instructors try to vary the different offensive and defensive applications
to develop a flow of technique. But self-defense cannot be prearranged; it must flow
with positive energy. In the Chinese Goju System, | teach the student how to react to
the confrontation with a continuous flow of techniques to the vital areas (Zones 1-2-3
must be attacked with every forward motion). Hand techniques are naturally faster than
leg maneuvers; it is the speed that is the main priority. Although leg techniques are
stronger and can be applied at a greater distance from the attacker, they are slow and
predictable in application. These techniques should only be used to get close enough
to use hand techniques. Leg techniques cannot be applied in a phone both or taxi cab
with maximum effectiveness, whereas hand techniques can be applied at close quarters.
Same styles favor leg techniques over hand techniques, but this is unrealistic. The
basic laws of human engineering apply here: you can change the fan belt or battery
in your Car, but you can’t change the parts of your body at a repair shop. Simply, our
bodies change with increased age. We as martial artists must change our technical
approach to self-defense to acclimate to our ever-changing bodies. With age we lose
flexibility and speed, which are necessary components for proper technical expres-
sion. The rule of keeping the good and discarding the bad applies here. True students
of the martial arts try to refine their art and strip it to the bare essentials. As my teacher,
Grandmaster Peter Urban, Tenth Degree Red Belt, says: “Teach every student two
blocks, two punches, two kicks!” And Bruce Lee once said to me: “Simplicity is the
key to true martial arts application.”

104
 There are over 165 different styles or forms of martial arts in existence today. Each
style has its own particular brand of technical application. The important thing is to
choose a form that fits your independent requirements. Before considering the study
of martial arts, think first of the amount of time you will need to achieve even minimum
proficiency. Then calculate how much time you are willing and able to provide for
proper improvement. Do not be impressed by high-ranking instructors who claim super-
natural powers and can break boards and bricks. These feats are not applicable to real
progress—boards and bricks don’t hit back! Such tricks are used to mesmerize the poten-
tial student who is looking for commercial exploitation.
| believe the standardization of the martial arts will put the fantasy-land sifu or sensei
out of business. The Better Business Bureau should look into the karate/kung fu school
rip-offs. It is ridiculous to think that one person could defeat numerous armed attackers.
| have worked in a number of kung fu films and most of the actors don’t know anything
about the real martial arts; they are experts in martial arts choreography and action direc-
tion. Being a fan of the kung fu and samurai films, | was somewhat disappointed and
shocked to learn the truth about some of the kung fu superstars. While in Hong Kong
on location for The Black Dragon’s Revenge, | was taken on a tour of the Shaw Brothers
and Golden Harvest Film studios, and had occasion to meet some of the superstars
of Asia, such as Chen Sing, John Liu, Chan Goon Tai, and Jimmy Wang Yu, to name
just a few. Kung fu films are total fantasy land! The big companies in Hong Kong produce
assembly-line kung fu films, shooting around the clock. Many of the superstars don’t
know anything about the martial arts, although they are fine actors. The stuntmen make
the stars look good! The action director is the most important man on the shooting set.
He is the one who makes dreams into reality. But there is no action director or stuntman
in the street, and that’s reality land!

105
 TACTICS AND STRATEGY
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106
4. Continue the grab and pull action with a side
kick to the throat. Keep the right hand up as
a safety device against counterattack. And
keep the pressure on all the way through the
combination. Combination—a continuous
series of individual techniques executed at full
speed with full power!

5. Apply a wrist lever while chambering for the

next technique. A lever is the application of
constant pressure to the bones, joints, and/or
sockets. Never let your opponent get away
from your grasp!
Hold the wrist tightly while executing a low
side kick to the knee joint or thigh muscle.
Keep your attacker off balance with a constant
pulling action coordinated with your attacking
mechanisms.

6. Continue the attack plan by delivering a side

kick to the ribcage. Never stop your attacking
devices until your opponent is down and help-
less. There is no such thing as too much
technique!
Remember Van Clief’s Law of Survival:
1. Let’s go!
2. Keep going!
3. There is nothing else!
The strategy for combat must be flexible if it is to
work. Prearranged forms and drills develop one’s
technical ability, while actual combat (sparring)
builds correct timing and the proper mental at-
titude. Learning how to function under pressure
keeps your mind and body honed to a sharp edge.
The stress factor is important in conditioning survi-
val mechanisms. Defense is more important than
offense! Remember, if you get hit first, the best of-
fensive technique in the world can’t help you.
Blocking and countering at the same time
minimizes the risk factor. Grabbing techniques
combined with good footwork allow full control
of your attacker. Above all, think!

107
 Multiple Arm and Leg Techniques
in Combination

1. Pick your target before you move in. Look your

man in the eye so as not to telegraph your in-
tentions. Relax, and wait for the right time to
strike. Attack with a positive attitude!

2. Close the gap. Grab and kick the groin with

a low round kick. The grab and kick are exe-
cuted at the same time. Prepare for the double
kick, low and high. Always use a firm grab and
pull your opponent off balance.

3. The groin kick is used as a set-up for the round

kick to the face, in one complete movement.
If you kick the low region, it will naturally bring
the head down. As you bring the kick down,
grab with the opposite hand to prepare for the
follow-up.

4. As your right leg touches the floor, your left leg

goes to chamber for the next kick. Hold the
wrist firmly for maximum control. Keep the for-
ward pressure constant (fluid motion). Keep
going!

108
a Pull your opponent's arm to the outside of your
body to give the side kick to the face more ex-
tension for power. Notice the right hand re-
mains in the guard position. Always keep your
eyes on your opponent! The side kick to the
face is the first part of the double kick.

6. Continue your constant forward motion (CFM)

with a side kick to the ribcage or the hip joint.
he side kick to the face goes directly into the
middle side kick without bringing the leg down
to the floor. Remember to be flexible!

ie As the left leg retracts and is placed on the

floor, shift your right leg forward and deliver
a horizontal elbow strike to the chin or jaw.
Notice the raised right heel; it generates power
and makes the forward movement fluid. Re-
member to pull the opponent's arm down to
assist the impact force with elbow strike.

Make sure that his right arm is straight before

going to the next technique. Bring the arm to
a perpendicular position so that it rests against
your left armpit. Your left forearm is the hold,
and the right hand keeps his elbow locked.
This device is called an arm lever. Make sure
it is like a vise. The higher his arm, the lower
his body. Keep the pressure tight.

109
 9. Notice how his right arm is locked and held
against the body. Remember to keep his arm
held high to lower his upper body. At this time,
bring up your right knee in a quick, sharp mo-
tion to his face. Keep the lever tight!

10. Keep the pressure on. The same hand (left)

that held his arm in the hold moves directly
to his eyes. Your right hand, which kept his
elbow joint locked, executes a downward
right elbow strike to the chest or solar plexus.
Stay close enough to be always in full control.

11. Remember, you are in full control ofthe situa-

tion—at this point, he should be helpless.
Keep the pressure on his eyes with your fin-
gers. Chop him across the throat with the
edge of your hand.

110
12. Your next move is the double tiger claw. The
left hand tears the eyes, the right hand rips
the throat. Always stay in motion on the at-
tack.

13. Finish him off with a side elbow strike to the

solar plexus before you let him drop to the
floor. Take your time when executing these
13 techniques.

111
112
7. Self-Defense for Women
(Evaluation and
Practical Application)

omen in the martial arts! | don’t believe in the double standard;

VW we are all equal on this planet of ours. In the Chinese Goju System
we have designed offensive and defensive mechanisms to fit the
specifications of the individual student. There have been many good female
practitioners in all of the arts. The first who comes to mind is Sensei Rusty
Kanogogi, a legend in the world of judo. She was a terror on the mat! Remember,
quality never goes out of style. A skilled woman can be much more lethal than
the average male. The element of surprise will completely disorientate a would-
be mugger or rapist. It takes very little strength to use the white snake to the
eyes or the monkey knee to the groin. Therefore, consider the qualifications
of the student, not the gender.
True, some karate styles are not suited to women, due to their high energy
output. Sparring in 80 percent of the existing styles involves only head and mid-
dle-area targets. On a recent trip to Korea | was shocked to find that in most
schools of Tae Kwon Do, hand techniques were not used in sparring. The Tae
Kwon Do students were not allowed to grab or sweep. This type of training
simply limits the potential for the student's growth.
During my travels in the early 1960s in Asia, | observed many women
who had acquired unusual martial skills. But my first real experience of the
martial arts came to me in Okinawa (one of the Ryuku Islands, which now be-
longs to Japan). In those days the Okinawans didn’t like the Japanese very much.
| was a member of the U.S. Marine Corps stationed at Camp Sukiran, and some
fellow Marines were taking karate in a village called Jagaru not far from the
base. The sensei was Sumiko Ozawa, about 5 feet 3 inches of Oriental woman.
She taught Okinawa-te (Kempo), which was a combination of kung fu and vari-
ous Okinawan fighting styles. Sensei Ozawa was excellent with weapons. She
was outstanding with the sai and bo staff, which are traditional Okinawan
weapons, and would spar frequently with all belt levels. Her appearance could
easily deceive you into thinking that she had no hit power.

113
 Sensei Ozawa taught me a great deal about the true martial arts spirit. Mar-
tial arts education means freedom! | do not recommend sparring for women,
since they are not structurally designed to take punches and kicks. But let’s just
mention some of the famous women in the martial arts: Marion Bermudez
(former World Champion), Cynthia Rothrock (international competitor and dem-
onstrator), Angela Mao Ying (kung fu superstar and actress), and Milagros Tirado
(international competitor and demonstrator). Ms. Tirado is a three-time All
American Champion. Leona Shauble was one of the first American women in
sparring competition in the early 1960s. She was a pleasure to watch, beautifully
trained in both the mental and the spiritual aspects of the martial arts. Lorna
Peterson and Cookie Melendez were quite good at sparring in amateur competi-
tion; Cookie Melendez is now involved in full contact sparring and is nationally
rated.
It is not important to compete actively. The sport of martial arts is ideal
for women as a program of physical and mental fitness plus a form of self-
defense. Women students should concentrate on lethal strikes to weak areas.
It is best to feign innocence until the proper time to strike. But there are many
qualified teachers of the martial arts who just happen to be female. The inclusion
of women in the martial arts has been an inspiration to me, and | am currently
developing a women’s self-defense demonstration team to perform internation-
ally. This is what I call genuine women’s liberation.

114
 DEFENSE AGAINST THE
STRAIGHT FRONT PUNCH

(Chinese Goju System)

1. This is the standard drilling mechanism called

the ippon. Ippons teach correct technical
execution, range, focus, and accuracy.
Chinese Goju students learn 100 ippons to be-
come a Black Belt. lppons teach you how to
react to your attacker's first move toward you.
The proper block combined with the correct
counter increases your self-defense ability. Be
creative and try anything—you will soon learn
whether it works or not. lppons develop a nat-
ural flow of techniques, but techniques must
be practiced to be maintained in top form.
Creative imagination and systematic logic are
the key components of the Chinese Goju
ippon. Remember, ippons can be done by
anyone, because you have the final choice of
technique. Ippons condition you to react prop-
erly at the correct time.

115
 2. Make eye contact. Start the bio-computer.
Analyze all variables. These are some of the
valuable points to remember: Critical distance,
armed/unarmed, height, weight, build. Relax
and breathe normally. LET’S GO!

Your eyes can Calibrate the speed and the

trajectory of the technique. Be aware and pre-
pare yourself psychologically. Remember the
martial arts laws of cause and effect and im-
agine the structural damage involved. Your
bio-computer will activate all self-defense
mechanisms if you are properly trained. Reach
forward with the right hooking block to im-
mobilize the attacker's right arm. Your left
hand goes directly to the guard position au-
tomatically. Keep going!

. Start the constant forward motion (CFM).

Reach forward with a hooking block. At the
same time, bring your left hand to the guard
position. Make sure that you reach far enough
out to deflect the punch before it reaches you.
Pull down on the hooking block and deliver
a front kick to the stomach or groin. Maintain
a tight hold on your attacker's forearm and/or
wrist. Note the slight bend in the supporting
leg to help maintain balance. Remember, mid-
dle hooking block and low kick for the coun-
terattack.

116
4. The right leg delivers a side kick to the ribcage.
Pull the person into the force of the kick. Al-
ways keep the hand that is not working in the
guard position.

5. Continue your natural flow of technique with

a side kick to the suspension system. Maintain
the constant forward pressure, keeping one
hand in the guard position at all times. Re-
member to bend your supporting leg slightly
for balance. The attacks have been low,
medium, and low! Always remember that low
kicks are very effective in self-defense. Keep
going!

6. Continue the combination with a right round

kick to the bio-computer. Keep pulling the at-
tacker into the line of force of your kick or
punch. This ippon has 1 block and 4 kicks.
Most ippons have 5 to 10 techniques, includ-
ing the blocking mechanism. White Belts
should know 5 ippons, Green Belts 20 ippons,
Purple Belts 30 ippons, Brown Belts 50 ippons,
and Black Belts 100 ippons. Practice your ip-
pons slowly and deliberately. Always concen-
trate totally when practicing your martial skills.

MAy
 DEFENSE AGAINST THE
REAR GRAB

1. Ippons are the primary psycho-physical mech-

anisms used in the Chinese Goju System of
martial arts. Relax and breathe normaily. Be
aware! An attack from the rear is very hard to
defend against. Most women are attacked from
the rear in a similar manner. Remember, ip-
pons are psycho-physical drills that help you
sharpen your martial skills. Always be creative;
do the unexpected. Clear your mind to be as
receptive as possible.

It is impossible to foresee an attack from the

rear. We must depend on our sensations to pre-
pare our minds and bodies for any emergency.
Start your bio-computer!

2. As soon as you feel or sense the touch, react.

Use the back kick to the groin area. It is very
effective when applied to the low area. Re-
member, in the street you will have your shoes
on! Gung fu practitioners call the back kick the
“tiger tail” kick. Always bring one or both
hands to the guard position when executing
any hand or leg techniques.

118
3. As you bring your left arm down, shift in the
direction of your attacker. Remember the con-
stant forward motion principle! Immediately
deliver a left monkey elbow to your attacker's
face, using your right hand to assist the left
elbow strike. Always close the gap with the
legs in order to finish off your attacker. The low
kick and the high hand technique should put
you in control of the encounter. If not, main-
tain constant pressure until you are in control.
Keep going!

. The next technique is the aiki-choke. Your left

forearm is across the front of the throat; the
right forearm is behind the neck. Both hands
are clasped tightly to create a condition of
high-intensity pain and rapid suffocation. The
aiki-choke is a very lethal hold! Always be ex-
tremely careful when practicing any self-
defense mechanisms. Try to touch both your
forearms together for the right effect. Aiki jitsu
is one of the arts of the Ninja—the invisible
assassins.
This ippon has three offensive techniques.
Always try to maintain a constant technique
flow and be creative. The psycho-physical
drills described in this manual are only drills
to stimulate your own imagination. Use any-
thing that keeps you from sustaining structural
injury. lppons should be practiced at every
training session.

119
 DEFENSE AGAINST THE
FRONT CHOKE

1. Front chokes and rear grabs are the most com-

mon attacks against women. If possible, al-
ways react before you are actually touched
physically. Let’s go! Remember, in the real
world, actions have consequences.

. Immediately break the choke with a front kick

to the groin combined with a double wrist at-
tack. The arms and the legs should work in har-
mony. Remember to chamber all kicks to get
the most output. The front kick can be with the
ball or heel of the foot. In the street you can
kick with the point of your shoes. Keep going!

120
3. Your right hand executes a tiger claw grab to
the wrist or forearm area. At the same time de-
liver an iron palm with the left hand to the bio-
computer. Remember always to pull in the di-
rection of force.

4. The next technique is an aiki-choke with the

left arm. Pressure is applied against the back
of the neck with the left forearm. Keep a tight
hold by grabbing your wrist. The lack of oxy-
gen combined with the high-intensity pain will
cause unconsciousness almost immediately.
Always remember to control your techniques
when practicing. Anyone can acquire self-
defense skills; it just takes patience and prac-
tees

121
 DEFENSE AGAINST THE
SIDE GRAB

1. When you practice ippons, always maintain

total control over your attacker. The practice
of ippons conditions our minds and bodies to
work together. It is not sheer power but a com-
bination of flexibility and speed in technical
execution that determines the outcome of any
confrontation. The side grab is a common at-
tack mechanism. Always be prepared!

2. Immediately start the constant forward action

with a monkey elbow to the ribcage. Your left-
leg-forward step increases the hit power of the
monkey elbow. Remember, your first offensive
technique should put you in control of your at-
tacker. The opening created by the monkey
elbow allows you to follow up with a series
of devastating techniques. Keep going!

122
3. Your left hand delivers a back fist strike to the
temple area. Always keep one hand in the
guard position for security and never lose sight
of your attacker. Maintain a constant flow of
effective techniques to eliminate the possibility
of counterattack. Take total control of the situa-
tion—never give your attacker a moment to
breathe!

4. Immediately execute the double tiger claw to

the neck or shoulder area. Observe how the
attacker is on the balls of his feet. This means
total control—at this point your attacker is at
your mercy. It is always better to use too much
technique than not enough. Concentrate all
your power into the double tiger claw
technique. In Chinese Goju, we call this the
set-up.

5. Pull your attacker downward into the rising

monkey knee. Striking the groin and breathing
system should have the same effect. This
technique, if practiced properly, should knock
your attacker out. This ippon contains four
techniques that not only do structural damage
but create high-intensity pain. The equation for
unconsciousness is high-intensity pain com-
bined with devastating structural attacks. Prac-
tice your self-defense at every training session.
One half of every Chinese Goju program is
self-defense training. Be creative and develop
your own combinations of technique. Creative
imagination and systematic logic determine
the outcome of confrontation therapy. Train
hard and always THINK!

123
 DEFENSE AGAINST THE
FRONT LUNGE
KNIFE ATTACK

1. Always stay out of range until you can create

an opening or the attacker commits himself.
The only real way to handle a knife attack is
to close the gap to render the attacker's knife
useless. The only advantage of any weapon is
distance. When a person uses a weapon, he
tends to concentrate only on the weapon’s po-
tential. He never uses the rest of his body to
maximum effect. Your eyes are the radar and
rangefinder for attacking devices.

2. As the attacker lunges toward you, start your

constant forward motion. The appropriate per-
sonal action would be to sidestep the frontal
attack. Use the body pivot or the sidestep prin-
ciple to avoid attack. Use your bio-computer.
Let’s go!

124
3. The second movement of the Black Dragon
Blocking System would be the logical
technique. The right hand deflects the right
forearm of the attacker’s arm. After deflection,
always grab for total control. The tiger claw to
the forearm is best for this situation. The left
hand simultaneously executes the iron palm to
the ribcage, which is totally unprotected at this
time. Always pull your attacker into the line
of the main impact force. Keep going—you are
in total control of the situation. From here on,
maintain a constant flow of technique.

4. The left sunfist to the chin or neck would be

the most logical variable in this situation. Grab
and punch at the same time. Set yourself up
for the next technique.

5. The left leg delivers a round kick to the temple

area. Always pull in the direction of the main
strike force. This kick, if properly applied, to-
tally disorientates your attacker psychologi-
cally and structurally affects the bio-computer
and neck. It is best to use a double tiger claw
with the round kick. Keep going!

125
 6. Follow up with a left round kick to the groin.
Computer shock with structural damage puts
the attacker out. The impact of a properly
applied groin kick is tremendous.

. Continue your constant forward motion with

a left tiger claw and right iron palm to the chin.
The tiger claw controls the left arm and directly
increases the hit power with the pulling action.
Push and pull mechanisms—there are over
1,000 techniques in the Chinese Goju System.
You have unlimited variables at your disposal.
Remember, “Practice makes perfect.”

126
 DEFENSE AGAINST THE
OVERHEAD KNIFE ATTACK

1. Be aware! Your eyes start your psycho-physical

self-defense mechanisms. Close the gap to
limit the knife variables. Relax and concentrate
totally. Let’s go!

2. The right leg moves forward as the right hand

executes the rising block. Your left hand deliv-
ers a sunfist to the ribcage. Remember to com-
bine force with forward motion for maximum
effectiveness.

127
 3. The next technique is the double tiger claw.
Your right hand controls his right forearm and
wrist. At the same time, your left hand claws
his right shoulder muscles. The knife should
drop to the floor at this time due to muscle
spasms. The tiger claw creates high-intensity
pain with muscular reaction.

. Keep going! Use the double tiger claw to pull

your attacker into the rising monkey knee to
the elbow joint area. If this technique is applied
properly, the arm will be broken.

. Maintain total control. Deliver a side kick to

the thigh muscle or knee to disable the suspen-
sion system. Ippons are the best form of self-
defense practice.

128
6. Continue the total pressure with the monkey
knee to the right elbow joint. Note the double
tiger claw techniques to the bicep muscle and
the forearm and wrist. Concentrate all your
power into your fingers to make the claws have
the most effect. After the total shock phase, the
control stage will engage itself automatically.

7. Maintain total control until the knife drops to

the floor. Only then should you stop offensive
action. Your attacker is still considered danger-
ous to you. Remember this is just a drill to culti-
vate your Creative imagination through techni-
cal expression.

8. The final technique is an aiki-choke—some-

times called the coiling snake. This technique
cuts off the oxygen source immediately. Re-
member the equation: shock + pain = knock-
out! Good self-defense takes a lot of hard work.

129
 SELF-DEFENSE

1. Ready Posture—Relax! Breathe in through the

nose and exhale through the mouth. Shoulder-
width stance so that weight is naturally balanced;
legs should be bent slightly at the knees.

2. Overhead Strike: Keep your eyes on your at-

tacker. Sidestep while moving forward (Black
Dragon Blocking System). “Always try to block
and hit at the same time.”

130
3. As the attacker’s arm descends, you move forward
on an angle to your opponent's exposed side. At
this time, you execute a high block with mid-sec-
tion punch. NOTE: This technique is the first in
the Black Dragon Blocking System. Keep shoul-
ders straight when punching, in the front stance.

4. Follow up the grab for finishing technique, e.g.,

knee strikes and elbow strikes. NOTE: Always
pull with grab. Keep forward motion while
executing techniques. Leg techniques are used to
get close enough for hand techniques.

5. Pull your attacker into the side kick to the throat.

The grab and pull generates more impact force
when punching and kicking.

131
 THE PHOENIX ATTACKS

A. Front shoulder grab—Relax. Prepare to attack the

wrists with the forearms in a semicircular pattern.

B. Aiki jitsu—Attack the body’s weak points. Push

down with arms against the wrists to escape.

132
C. Pull arm or wrist down to attack eyes with Snake
style. Keep moving forward with technique ex-
plosion.

D. Dragon palm to neck or chin target. NOTE: Op-

posite hand attacks mid-section.

E. Finish with side kick to face or neck. Kicks and

punches work best with grab for effect.

133
F. Single wrist grab—white snake to eyes with
counter grab.

G. Pull into groin kick with instep or heel striking

surface.

H. Ten dragon palm to neck and breathing system.

NOTE: Remember constant forward motion with

combination techniques.
I. Upward elbow strike to jaw. NOTE: Pull down
with upward elbow. Keep close to attacker for
control and technique variables.

J. Double grab with knee to face attack. NOTE: The

knee is very effective to groin, stomach, and face
targets.

K. Pull down with downward elbow strike to the

neck (base of brain).

135
 L. Ninja choke while pulling attacker backward and
off balance. Constant pressure with forearm to
throat area.

NOTE: The Phoenix

Quick flurries to vital areas with sharp snapping mo-
tions. Constant motion. Make attacks creative, con-
stant, and devastating!

THE PHOENIX ATTACKS:

SELF-DEFENSE
Countering the Wrist Grab

A. Single wrist grab—pull down and knee to groin.

Supporting leg is bent throughout kicking. Toes
are pointed down and relaxed.

136
B. As knee starts down, elbow initiates face attack.
Pull your attacker into the direction of form to
generate more impact power.

C. Semicircular elbow strike to temple orjaw targets.

Keep your body moving forward with all attack
procedures.

D. Moving in with double tiger claw attacks. Left

hand claws the eyes and face as the right hand
reaches for the groin grab. The tiger starts with
the palm and completes with the fingers.

137
 E. The tiger seizes the sheep . . . Maximum shock
with tiger palms initiates the tiger claw technique
to completion of techniques. NOTE: Constant for-
ward motion.

F. Pull down grab with elbow strike to neck, temple,

or chin. NOTE: The tiger claw works very well
with the monkey elbow. Thai boxers have many
times proved the effectiveness of the elbow in
combat.

NOTE: From A to F, the motion should be constant

and with full speed and mental attitude. Motion with
emotion has tremendous effect. In martial arts, there
are no men and women, just martial artists!
Rule No. 2: Render your attacker helpless, but try
not to do structural damage (fractures, contusions).
“Use only what is necessary”—RVC.

G. The rear grab—Move to the rear with reverse

monkey elbow to breathing system. Sometimes
it is possible to step down on your attacker's shin
or ankle while setting up the reverse monkey
elbow. Note the short stance for mobility.

138
H. Pull with right hand into tiger palm strike to chin.
The hit with the tiger palm is hard, but the pres-
sure is Constant to raise the attacker's chin so that
it will be impossible for him to see anything. This,
of course, is the set-up for the next technique.
NOTE: Stay close to attacker to minimize
counterattack.

1. Double tiger claw with monkey knee to face. The

knee moves up as the hands pull down, for
maximum effect. Desirable targets are neck, face,
chest, for the monkey knee. NOTE: Supporting leg
is in bent position while the elbows are pulled in
to protect the face and body.

J. Pull with right hand with monkey elbow to jaw

or temple area. NOTE: Keep motion constant!
Develop flow with variable technique. Always
keep fluid and in command of the situation.

139
 K. Left hand grabs to execute right iron palm to chin.
NOTE: Don’t stop until the mission is completed.
Rule No. 1: Don’t get hit first! “Defense is just
as important as offense” —RVC.

140
ER
Nee

ENON

141
142
8. Self-Defense for Senior Citizens
(Practical Application}

artial arts is the perfect cardiovascular exercise—I have personally

Mi taught students from three years of age to eighty-one years of age.
The Chinese Goju style changes with your body. Karate becomes
aiki jitsu, meaning total control. In the true art of aiki jitsu there are no hand
or leg strikes; aiki jitsu is the practical application of control devices such as
levers, holds, and locks. The longer you practice, the better your abilities be-
come. Remember, physical and mental input creates total expression.

143
 DEFENSE AGAINST THE
OVERHEAD HAMMER
STRIKE

. Relax and breathe normally. Depend on your

senses to activate your self-defense mech-
anisms. Whatever you do, commit yourself!
Start the bio-computer.

. The Black Dragon Blocking System is most ef-

fective against short-range weapons like
knives, sticks, chains, and bats. The element
of surprise is a great advantage. Muggers are
really surprised when they become the victims
of a senior citizen’s attack! The left hand blocks
the right forearm with the rising block. Never
block a weapon with your hand or arm; always
block the wrist or forearm to prevent the
weapon from injuring your body. Move
smoothly from technique to technique. Com-
binations of technique must flow like
electricity.

144
3. The double tiger claw will control the arm with
the weapon. Concentrate all of your power
into the fingers. Mentally prepare for the next
technique. Breathe normally when executing
any technique. The double tiger claw, if
applied correctly, will neutralize the hammer.
Keep going!

4. Pull your target toward your chambered leg in

preparation for a kicking attack. The chamber
also guards your lower area from counter-
attack. Always stay on guard.

5. Continue your pulling action and deliver a side

kick to the knee joint. Note the right hand is
in the guard position as usual. The kick to the
suspension system will eliminate any further
counterattack. Use only what is necessary. If
applied correctly and to the right target, the
side kick can be devastating.

145
 DEFENSE AGAINST
THE FRONT GRAB

1. Let’s go! Concentrate totally on your attacker.

Relax and breathe normally; make eye-to-eye
contact; don’t resist the grab! Any action at this
time would cause a reaction that could not be
predicted. Therefore start the bio-computer
and prepare the life-support mechanisms for
action.

. The left forearm traps your attacker's grabbing

arm. Your right hand assists to increase the
pulling potential. This technique is called an
aiki-lever. It creates high-intensity pain in the
joints and limbs involved. If pressure is in-
creased, fracture or dislocation follows. Re-
member the constant forward motion princi-
ple. Keep going!

146
3. It is my opinion that karate takes too much of
a high energy output. Aiki jitsu is a low energy
form of self-defense. Speed and control are the
key factors of the self-defense mechanisms.
Aiki jitsu and karate are both forms of control.
Karate controls through shock created by im-
pact force against the body; aiki jitsu controls
without hit power. There are no punches or
kicks in true aiki jitsu. Control is acquired
through various psycho-physical mechanisms
such as holds, levers, locks, sweeps, and
chokes. All force is deflected rather than met
head on.

4. The final technique in this drill is a three-way

lever. This comes from the Snake style of gung
fu. The left arm coils around the attacker's left
elbow. Your right hand holds the wrist with the
tiger claw technique in a downward pushing
motion. It is this downward action, combined
with the control lever on the elbow joint, that
produces constant pressure. The shoulder,
elbow, and wrist can be broken or dislocated
with little effort. Combine the aiki jitsu with the
karate to come up with self-defense mech-
anisms. Maintain a tight grip with the tiger claw
and the aiki-lever for maximum effect.

147
 DEFENSE AGAINST
THE REAR GRAB

1. This is the time when all that training and

sweating pays off! Relax to prepare the body
for immediate action. Maintain a normal
breathing pattern. Inhale through the nose and
exhale through the mouth. Let’s go!

2. Bring your right hand to the guard position and

start your constant forward motion. Your left
hand starts the coil over both forearms in a
semicircular arc. If the left hand moves, the left
leg must move. Remember, the Snake is a very
efficient style of self-defense, emphasizing
control over any limb that comes within con-
tact range. Keep going!

148
3. The left forearm controls both arms with the
“coiling snake” technique. The right hand is in
the guard position prepared for counterattack
or for the delivery of hand techniques. Re-
member, to be effective, this hold must be
tight.

4. Your right iron palm hits the attacker on the

chin and continues to push the head back. Re-
member the palm up, head back rule! You are
now in complete control ofthe situation.

5. The left monkey knee to the groin should be

sufficient to incapacitate any would-be mug-
ger. It is at this point that the mugger becomes
the victim!

149
 6. The next technique is the double tiger claw to
the neck and shoulder muscles. Maintain that
constant forward motion of technique. Never
lose eye contact. Concentrate on every one of
your moves. The “iron will” activates our
supernormal capabilities.

7. The final technique is an aiki jitsu choke. The

left arm traps the neck while the right arm as-
sists. This technique is referred to as the reverse
head lock in Chinese wrestling (Goti). Goti was
a form of ancient Mongolian wrestling. This
technique cuts off breathing mechanisms,
which knocks the attacker out.

Always remember that aiki jitsu works very

well with karate arts. The Ninja were very
adept at silent technique. Every Ninja was
taught the martial arts, with emphasis placed
on weapons, aiki, and karate. Master Ronald
Duncan is an American Ninja. He has been
a great source of knowledge in Ninja traditions
and technology and has traveled worldwide
demonstrating his arts. Master Duncan is cer-
tainly a credit to the world of martial arts.

150
151
152
9. Martial Arts Education
for Children
(Form and Application)

Cc hildren seem to be the most receptive group of all to martial arts educa-
tion. They are inexhaustible! Watching children train in the martial arts
is awonderful experience.
| believe that children should not spar until the age of ten, when their bodies
are stronger and concentrative abilities have been formed. My son Ron started
his martial arts education at the age of two. While in his playpen Ron would
do techniques that amazed me. He is five and a half now and trains regularly
in the group classes. He has developed discipline and the ability to concentrate
on correct technique application. A proper martial arts education can only en-
hance a child’s development.
Of course, children must be made to realize that martial arts is not a game.
Never allow playing during a training session, and always supervise all classes.
You and your child should read this together!

153
 DEFENSE AGAINST THE
WRIST GRAB

1. The wrist grab is a common technique in child

abuse or molestation. Be aware—never talk to
strangers. If possible, never allow a child to
travel without an adult. Don’t resist the grab.
.Let’s go!

2. Let out a loud scream if anyone is in the vicin-

ity! Bring your right leg to chamber in prepara-
tion for kicking techniques. Keep your eyes on
your attacker. Stay calm and breathe normally.
In the Navy we sound “battle stations,” which
means the state of complete alert!

154
3. Your right leg kicks with the low front kick to
the mid-thigh or knee area for maximum effect.
Your left hand goes directly to the guard posi-
tion as usual.

4. Use the double tiger claw to pull your attacker

downward in preparation for the next
technique in the combination. Keep going—
there is nothing else. Use your body weight
plus the double tiger claw to bring the arm
down.

5. Keep a tight grip on the wrist and forearm.

Close the distance with a rising monkey knee
into the attacker's forearm. Pull down, knee
up. Always bend the supporting leg to ensure
centerline balance.
 6. The final technique is the side kick to the knee
or thigh area. This kick is very painful. At this
time the attacker will let go of your wrist. Seize
this opportunity to run away from the im-
mediate area to find some help. Escape and
evasion is the name of the game. A sound mar-
tial arts education will prepare the child for the
violent world that we live in. The mental and
physical benefits of the martial arts will stay
with him or her for the rest of life.

DEFENSE AGAINST THE

ATTEMPTED FRONT GRAB

1. Note the difference in height. A child may use

this advantage to attack the lower unprotected
areas. Relax and breathe normally. Remember
the escape and evasion principle! Bio-com-
puter on, your body is in a state of total alert.

156
2. Sometimes you may be able to react before
there is physical contact. But if you cannot es-
Cape, you must resort to your martial skills. Re-
member, never resist a grab unless it is to a vital
area such as the neck. Always try to react be-
fore you are physically touched.

3. Your left side kick should hit the knee. Always

lean in on your kicking technique for addi-
tional hit power. The right hand goes directly
to the guard position. Your left hand is actually
a tiger claw technique. Always pull your at-
tacker into the direction of force.

4. The final technique in this drill is the front heel

kick to the groin. This kick will allow you to
leave the area without physical harm. A fast
kick to the groin can cause serious damage
even from a child. Remember the element of
surprise! Always leave the scene of violence,
whether you are involved or not.

137
 DEFENSE AGAINST
STRANGERS WITH CANDY

Never accept anything from a stranger! Always re-

member this principle. It is best just to leave and
not even answer the stranger’s questions. Be alert
to any aggressive vibrations.

1. Unfortunately, there are too many bad people

in the world. Teach your children how to stay
out of trouble. Remember, stress and tension
affect children, too. Martial arts can be the per-
fect exercise to help relieve that stress.

158
2. Bring your left leg directly to the chamber posi-
tion in preparation for offensive leg techniques.
Never lose eye contact with your attacker.

3. The final technique is the left side kick to the

groin with the heel. Extend your leg fully into
the target. This kick will cause the attacker to
release his grip on you. If possible, always pull
in the direction of the main strike force to
amplify the hit power. It is best to teach chil-
dren self-defense and kata until their teens so
as not to jeopardize the child’s health. Sparring
should never be done with children under 10
years of age—there are too many variables to
consider and no one should ever spar without
protective equipment. But martial arts build
good character and a very positive outlook on
life.

159
160
10. Advanced Self-Defense
The Chinese Goju System
(Animal Forms in Self-Defense)

T he animal forms are very efficient for self-defense. Most animal forms
require the use of a partner to apply the various techniques realistically.
The martial arts employ training aids to supplement the standard operat-
ing procedures. For example, sandbags are necessary in the study of the Tiger
style and iron balls are necessary to develop hand coordination and finger
strength. Training aids are necessary to the development of the martial arts.
Sometimes a wooden man with five arms is used by the students of the Snake
style. | am familiar with twelve animal forms of Chinese Gung Fu: the Snake,
Tiger, Monkey, Crane, Bear, Dragon, Praying Mantis, Eagle Claw, Leopard,
Phoenix, Elephant, and Horse.
During the last twenty-five years of my martial arts education, | have learned
that one never ceases to learn! | met a great gung fu master in Taiwan who
claimed to know twenty animal styles—too bad | didn’t stay in Taiwan long
enough to check him out! The confrontation had very interesting possibilities.
Another Chinese gung fu master claimed to be able to deliver fifteen punches
in three seconds. He challenged me to a full contact match and never showed
up. Bruce Lee once told me that he was challenged numerous times in Hong
Kong. Challenges are never worth the bother. In the martial arts there is always
someone better—get back to reality!
The animal styles of gung fu are quite fascinating and effective as forms
of self-defense. It would take at least two volumes to cover the numerous styles
in detail, but this chapter gives you a practical look at the basic forms: the Mon-
key, Tiger, and Snake.

161
 | was given the name “Hok Lung,” which means Black Dragon, by Grand-
master Leung Ting of Wing Tsun Kuen. Sifu Leung Ting has influenced my gung
fu education in a most positive way: to watch him practice the 108-movement
form on the wooden man is hypnotic (Wing Tsun practitioners use the wooden
man in their daily training sessions). Another gung fu master who really im-
pressed me was Sifu Leo Fong of Stockton, California. | was in Manila on loca-
tion filming The Bamboo Trap, with Leo Fong and Darnell Garcia. Leo taught
me some of the basics of the Tiger Claw style, being himself a student of arnis,
Filipino stick- and knife-fighting arts. He introduced me to Grandmaster Remy
Presas, “the father of modern arnis.”
During my four-month stay in the Philippines, | practiced martial arts with
Leo and Remy almost every day at my hotel. One day Leo and | were sparring
in the hotel. | learned that Leo had a terrific left hook and powerful kicking
techniques. Most gung fu practitioners don’t use kicking techniques or left
hooks, but Leo had been a professional boxer in his youth. | will always be
grateful to Leo and Remy for the wisdom they imparted to me. Leo Fong made
me realize how necessary training aids like heavy bags, speed bags, and bean
bags can be. Remy Presas taught me the basic rudiments of arnis. His speed
with the rattans (an extension of the empty hand) was blinding! Leo and Remy
inspired me so much that | began documenting my martial arts experiences.
Leo also studied Wing Tsun with Bruce Lee. Leo and | practiced “sticky hands,”
sensitivity hand drills, on many occasions. Now | am happy to share these ex-
periences with you. Remember, martial arts knowledge must be shared with
the world.

162
 Animal Forms in
Self-Defense

1. Relax and breathe normally. Start your bio-

computer and activate all life-support
mechanisms. Don’t resist the force of the front
grab. Never lose eye contact with your at-
tacker! Immediately activate self-defense
mechanisms. Commit yourself totally in per-
sonal, positive action. |Motion + Emo-
tion = Maximum Effort.

2. Reach up through the attacker's arms, execute

a double tiger claw to the upper arm, and rip
the muscles. Remember, first the palm then the
fingers strike and rip the bicep. Concentrate on
the downward slapping and tearing motions.
Always put your full body into both offensive
and defensive maneuvers. Gung fu masters of
old could tear bark from trees with the tiger
claw.

163
 3. Immediately cross-grab the attacker's left hand
and execute the white snake strike to the eyes.
Always pull your opponent into the strike
force. The cross-grab is actually a tiger claw
on the forearm.
Always maintain a constant forward motion.
Remember to relax the striking hand until the
moment of contact. Coordinate the cross-grab
with the eye attack for maximum economy of
motion. You are controlling and attacking at
the same time.

. Move directly from the eye stab to a tiger claw

to the throat with the right hand. The left hand
maintains a constant pulling action down-
ward. The result of the tiger claw is the im-
mediate shutdown ofthe breathing system (the
compressor). Remember the constant forward
motion principle.

5. Finish your attack plan with the monkey knee

to the groin area. Make sure that you pull your
attacker down into the rising knee action. Use
the double tiger claw technique to maintain
total control. The tiger, snake, and monkey
techniques work very well together. Study of
the animal forms will add to your arsenal for
self-defense.

164
 Practical Application

A. Sometimes you may be confronted with more

than one attacker. This ippon will prepare you
for just that. You must take action im-
mediately. Let’s go!

B. Instantly execute the double tiger claw

technique. Your right hand attacks the throat
while your left hand attacks the groin. Always
use your palms in a slapping motion. The grab
and ripping motion must be as tight as possible
for effectiveness. Speed and accuracy are the
two major factors in self-defense.

C. The next technique comes from the Snake

style. This is the escape and control device.
Your arms reach up and over your attacker's
forearms to create an aiki jitsu lever on the
elbow and shoulder. The coiling of the snake
is the action of your forearms circling the at-
tacker’s arms. Bend forward slightly to in-
crease the effectiveness of this particular trap-
ping hand mechanism.

165
 . Follow up with a technique from the Monkey
style for total control. “The monkey grabs the
melons” is the classical terminology used in
various monkey forms. Let your snake
technique flow directly into the Monkey style.
The last two techniques create high-intensity
pain, and bone, muscle, and joint injuries. Let
your energy flow, and keep going!

. “The monkey grabs the melons” is actually an

aiki-choke and lever mechanism. Make a com-
plete circle with both arms that terminates with
both palms placed on the chest or as high as
possible. Always keep your forearms as tight
around the neck as possible for maximum ef-
fect. Aiki jitsu techniques work well with the
various other martial arts. Self-defense
mechanisms should be as simple as possible
to comprehend and execute; flashy techniques
don’t work in the street. Only the practical, tac-
tical ones work.

166
 IRON BROOM AND
DRAGON TAIL SWEEPS
COMBINATION

1. The monkey sweep is a favorite among

Chinese Goju practitioners because of its de-
ceptiveness. It is commonly used as a coun-
terattack mechanism against high-kicking
assaults or the front lunge hand attacks to the
head area. Never look at where you are going
to attack (telegraphing). Let your eyes see and
focus on the whole body, not one specific
area. Always be aware!

2. As you drop down and pivot forward, keep

your eyes on the target. Never put your knee
on the ground; rotate on the ball of your foot.
Your hands will stabilize your spin. Pivot on
your left foot and deliver the low round kick
with the right leg to the leg closest to you. Pre-
pare to retract the kicking leg and place it in
front of you for the next technique.

167
 . Bring the right leg back to you to a comfortable
position. Start the forward hip motion as soon
as it is placed on the ground. Never take your
eyes off the target. Keep in mind that you
should be fluid and continuous in motion. Any
hesitation could prove fatal.

. Spin on the ball of the right foot to complete

the circle. Remember the constant forward
motion (CFM) principle! As you turn on the
right foot, start the cocking action of the left
leg for the dragon tail sweep. Do not lock the
knee when using the dragon tail; it will cause
injury to the knee joint. Never spin on your
knee.

. The dragon tail is a Chinese Goju standard. It

can be used against both legs to drop the at-
tacker to the ground. The low spinning round
kick is the “iron broom,” which is less versatile
than the dragon tail. The combination of the
two techniques is known as the “Monkey
sweep.” The dragon tail has the same effect as
being hit with a baseball bat across the legs;
either the front or back of the legs will do the
job!

168
6. The monkey sweep is the most effective sus-
pension attack mechanism. When applied
properly, the monkey sweep is capable of
breaking the leg of an adult male. Besides im-
pact power, the knees and ankles receive tre-
mendous unbalanced pressure. If you destroy
your attacker’s legs, you immediately achieve
superiority! Seize any opportunity.

169
 Me
e

Coe lars
ereere “'

170
11. The Alphabet of Martial Arts
(Chinese Goju Technology)

Awareness— The finding of one’s self. To become in tune with the universe,
you must first know who you are, why you are, and where you are in
relationship to the rest of the cosmos. The first principle of the Chinese
Goju System is: Defeat the self, first to know! When you understand your-
self, you understand humanity. Always stay in a condition of mental and
physical awareness. Know your potential and limitations to formulate a
good framework of reality. Remember, awareness is reality.

Behavior—Behavior is a reflex action. Learning is a change in performance as

a result of correct repetition. Practice is reinforced repetition of psycho-
physical drills to increase total efficiency. The aim of Chinese Goju condi-
tioning is to increase individual growth potential and total emotional ex-
pression. Behavioral pattern conditioning is the motivation necessary to
stimulate increased results. Develop and maintain good physical fitness
habits for life.

Conditioning—This means the actual physical and mental outputs in perfor-

mance of martial skills. Chinese Goju kata (sets, forms) are designed to
keep the cardiovascular system in top shape by making the body work hard
and demanding increased amounts of oxygen over an extended period of
time. Proper training combined with a healthy mental attitude increases
total potential. But fitness is a temporary achievement. The condition of
fitness must be maintained through regular, consistent psycho-physical
mechanisms. In the real world of martial arts, we refer to these mechanisms
as work. Never lose your fitness level; believe in total lifelong fitness.

171
 Design—For any martial art to be effective, human engineering must be taken
into consideration. The Chinese Goju System is unique in its design, being
tailored to meet the necessary requirements of each student. An under-
standing of the science of human engineering is the foundation of a proper
martial arts education. Techniques must pass the tests of time and efficiency
to be considered practical. The bottom line is, does a particular technique
work or not? Techniques should be easy to understand and simple to exe-
cute. Simplicity is the key word—be practical and economical.

Energy—There are two types of energy in the martial arts: mental energy and
physical energy. We don’t create or destroy energy, our bodies are energy-
converters. Anything we consume is either burned up as exercise energy
or stored in the body as fat. So, we must not waste energy! Be practical
and economical when executing technique. The combination of the “iron
will” (see below) and good structural design gives the student total energy
output. The Mind + The Body = Harmony. Chi Gung, or physical energy,
means the ability to change energy into “hit power.” Hit power is the
amount of concentrated-force energy measured in pounds per square inch.
Simply, the effect of your offensive techniques. Could you knock out an
attacker in a street situation? Remember, the mental, physical, and spiritual
balance you achieve will be directly proportionate to the amount of
applied-force energy.

172
Fluidity—Fluidity is the technical language of martial arts. The ability to execute
effective hand and leg techniques takes many years of practice. To attain
fluidity, you must maintain a constant forward motion (CFM) when deliver-
ing offensive and defensive techniques. Keep going! Technique is your am-
munition, your body the weapon. Be versatile and creative in your
technique. Constant forward motion creates momentum, which adds to
the hit-power potential. Always remember that change is constant.

Growth—The value of a martial arts education is the ability to function in an

orderly manner in a disorderly society. Growth can be measured by one’s
ability to use skills attained through the martial arts in everyday life. Growth
is the understanding that nothing is impossible. Some people think that
having technical abilities is growth; this is erroneous. Growth has nothing
to do with martial skills. The martial arts experience is psychological
growth.

173
 Health—We as living machines are responsible for our own maintenance for
the duration of our lives. Martial arts are the perfect exercise for our bodies!
Mental health means having a proper framework of reality. Physical health
means the reality of a total lifelong fitness program. Fitness is a temporary
condition that requires continual maintenance. The optimum exercise pat-
tern should be every other day, to give the body enough time to recuperate.
And remember, you are what you eat. Never eat junk food. A proper diet
combined with a sensible exercise program will put you on the road to
total fitness.
There are five other types of fitness programs used in martial arts:
aerobic, anaerobic, isometric, isotonic and isokinetic. Aerobic exercise
must have a steady, rhythmic type of action that consumes large amounts
of oxygen; jogging and rope jumping are fine examples of aerobics.
Anaerobic exercise is physical action that takes place very rapidly or explo-
sively, as in sparring. Isometric exercise concentrates on building strength
and muscle tone. Isometrics create resistance without movement; they are
somewhat limited, because they don’t develop speed and flexibility.
Isotonic exercise is my favorite exercise for power conditioning.

174
Interest—Interest is referred to by Chinese Goju practitioners as “motivational
therapy.” It is entirely up to the instructor how far the student will develop
in the martial arts. The teacher must stimulate the student’s interest by set-
ting the right example. Teaching ability must be combined with creative
imagination to communicate the martial arts message. We are all stu-
dents—I learn something new every day by observing the lower-ranking
belts. Interest is stimulated by positive progress. Only students who are
highly motivated will achieve technical proficiency. No matter how good
the teacher is, it is up to the student to put forth the necessary effort.

“tron Will”—The “iron will” gives us spiritual power. The study of the martial
art is a real commitment both mentally and physically. All technical skills
are temporary; they must be practiced to be maintained.

Justification—The reason for training in the martial arts. The God-given right
to protect oneself. You need not justify your actions. Just keep training hard!
People who criticize you for your involvement in the martial arts are jealous
and probably too lazy for any exercise. We call this disease T.R., or Termi-
nal Relaxation. This is the Chinese Goju terminology for the good ole lazi-
ness religion. You need no reason to keep fit; just pride in yourself.

175
 Knowledge—Knowledge is not yours until you give it to someone else. Teachers
make the difference . . . the system is the solution. The knowledge is men-
tal, the application of this knowledge physical. Modernization is the intelli-
gent choice! Always use your bio-computer—knowledge is positive action.

Logic—Logic is necessary when making critical decisions. Always think before

reacting to any positive or negative stimulus. Your powers of reason elevate
you from just another animal to an aware individual. Remember,
Speed + Timing + Focus = Maximum Effort.

Meditation—This is necessary to maintain the proper equilibrium between the

bio-computer and the spiritual self. In the martial arts we use zen for medita-
tion. The ability to coordinate the mind and body to work together is a
form of zen meditation. Meditation gives you self-awareness.

Necessities—These are the priorities of our lives. Speed and flexibility are the
necessary components of effective self-defense application. Use only what
is necessary!

176
Objectivity— Objective analysis is the ability to think clearly, taking in all factors
involved and making the right decision. Simply, understanding the situation
and formulating the correct solution to the confrontation.

Patience—Patience is a virtue! Always relax and put forth your best effort. Every-
thing takes time—time to understand and time to practice the skill. Re-
member, patience is also a form of concentration.

Quitters—Quitters never win, winners never quit! It is necessary to practice

all skills to maintain physical and mental abilities. Without continual
maintenance, our skills would disappear.

Reality—This is different for everyone. We all live our separate realities. But
reality means unchanging truth. What is, is; what isn’t, isn’t. In the real
world, health, wealth, and knowledge are reality. Maintain your balance
in the sea of life. The smart fighter will never hesitate to change tactics
to implement the correct technique at the correct time. Conserve your
energy for the impact force, and always maintain a positive mental attitude
throughout life.

W7
 Speed—Speed is the amount of time between a stimulus and the reaction to
it. Mental attitude and physical conditioning are the key points. Speed
amplifies hit power.

Timing—Timing is the ability to use your bio-computer to calculate the speed

of the offensive technique and react with the proper block/counter
mechanisms. Perfect techniques thrown at the wrong time have no mean-
ing. Know your capabilities—your hands will always be faster than your
legs! Speed is increased by the use of proper training methods.

Unity— Unity is the right combination of mental, physical, and spiritual energies
to acquire inner tranquility.

Variables—These are limitless! Be creative, use anything that works. Re-

member, your opponent is capable of anything. Always stay in control of
yourself and your environment. In training, practice good form in technique
delivery. Legs work best to the lower areas, hands work best from the mid-
dle areas upward. Never become one-sided. Practice all techniques from
both sides.

178
Weapons—Weapons are the various hand and leg techniques, but our best
weapon is our mind’s potential. Be aware! Always maintain life-support
systems. Use your weapons only for self-defense under emergency situa-
tions.

X—X is the Unknown Factor in life. | have devised an equation to clarify this
principle: A = Variables (How many are involved in the encounter? Are
they armed or unarmed? Physical dimensions big or small?). B = Bio-com-
puter (the iron will and practical self-defense mechanisms). Simply, creative
imagination and systematic logic activate the correct self-defense devices.
C =Conditioning. Are you physically and psychologically ready for any
confrontation (the mental attitude of your attackers versus your martial
skills)? X = The outcome of a life-and-death situation. Remember the first
law of martial arts reality: Never get hit! To determine the outcome, hold
fast to this equation:

= X is the outcome.

179
 Yielding—Yield to force! Never resist force directly; force must be deflected
or controlled. | believe in the principle of gong and yau. Gong is external
force, yau internal force. Gong and yau coexist, complementing each
other. It is like two halves of a circle which join to make a complete whole.

Zen—Zen is the ability to enjoy life in health and peace. Martial arts are my
religion and zen is my way of life. Zen meditation has enabled me to main-
tain a positive mental attitude throughout my life. You can be in control
of your destiny! | learned a great deal about zen from Grandmaster Peter
Urban, Tenth Degree Red Belt. He taught me that zen is reality. The Z
is for “zeal,” the EFis for “energy,” the N for “nowness.” Today is tomorrow:
What you do today affects your tomorrow. Remember, the natural laws
of cause and effect apply to everything.

180
 Appendix
The World Masters in Action
Awards

THE UNIVERSITY OF MARTIAL ARTS

ACN LENE TaNnale
65101981

1965 1967
Best Fighter Frank Ruiz Best Fighter Chuck Norris
Best Kata Toyotaro Miyazaki Best Kata Ronald Taganashi
Best Weapons Ronald Duncan Best Weapons Al Decascos
Best Demonstration Tadashi Nakamura Best Demonstration Hidy Ochai
and Shigeru Oyama Sensei of the Year
Martial Arts Pioneer Award Richard Kim
Peter Urban, S. Henry Cho, Superstar Award Mike Stone
Don Nagel, Maynard Minor Martial Arts Author Award
Superstar Award Ed Parker Bruce Lee, Chinese Gung Fu
Martial Arts Author Award
Mas Oyama, This Is Karate

1966 1968
Best Fighter Thomas LaPuppet Best Fighter Joe Lewis
Best Kata William Louie Best Kata Chuck Merriman
Best Weapons Moses Powell Best Weapons Tadashi Yamashita
Best Demonstration Alan Lee Best Demonstration Tiger Kim
Sensei of the Year Sensei of the Year
George Cofield Richard Chun
Superstar Award C.K. Kim Superstar Award Malachi Lee
Martial Arts Author Award Martial Arts Author Award
Ed Parker, Kempo Karate Peter Urban, The Karate Dojo

181
 1969 1972
Best Fighter Ron Van Clief Best Fighter Ron Marchini
Best Kata Toyotaro Miyazaki Best Kata Eric Lee
Best Weapons Wai Hong Best Weapons Ron Van Clief
Best Demonstration Bruce Lee Best Demonstration Bruce Lee
Sensei of the Year Sensei of the Year
Leo Fong Steve Saunders
Superstar Award Joe Hayes Sifu of the Year
Martial Arts Author Award Chan Chou
Mas Oyama, Advanced Karate Superstar Award Fumio Demura
Martial Arts Author Award
Leo Fong, Hung Gar

1970
Best Fighter Chan Goon Tai
Best Kata William Oliver
Best Weapons (Gung fu)
Myung Sup Kim 1973
Best Demonstration japanese Karate) Best Fighter John Davis
George Cofield Best Kata William Oliver
Sensei of the Year Best Weapons Tonny Kusotomo
Frank Ruiz Best Demonstration Ron Van Clief
Sifu of the Year Sensei of the Year
David Chow Pete Siringano
Best Weapons (Japanese Karate) Sifu of the Year
James Roberts Bucksam Kong
Best Demonstration (Gung fu) Superstar Award Benny Uriquidez
Daniel Pai Martial Arts Author Award
Superstar Award Louis Delgado Dan Inosanto, Arnis and Escrima
Martial Arts Author Award
S. Henry Cho, Korean Karate

1971 1974
Best Fighter Fred Miller Best Fighter Earl Monroe
Best Kata Tayari Gasel Best Kata William Oliver
Best Weapons (Gung fu) Best Weapons Eric Lee
Gin foo Mark Best Demonstration William Louie
Best Demonstration Owen Watson Sensei of the Year
Sensei of the Year Nick Adler
Gary Alexander Sifu of the Year
Sifu of the Year Curtis Wong
Ming Pai Superstar Award
Best Weapons (Japanese Karate) Bill “Superfoot” Wallace
Hidy Ochai Martial Arts Author Award
Superstar Award Chuck Norris Herman Petras, Martial Arts Handbook
Martial Arts Author Award
Richard Chun, Moo Duk Kwan

182
 1975 1978
Best Fighter Errol Bennet Best Fighter Steve Fisher
Best Kata Sheldon Wilkins Best Kata Chaka Zulu
Best Weapons Jason Lau Best Weapons Robert Crosson
Best Demonstration Karriem Allah Best Demonstration Jason Lau
Sensei of the Year Sensei of the Year
Bob Cuccinello Emil Farkas
Sifu of the Year Sifu of the Year
Ralph Mitchell Leung Ting
Superstar Award David Carradine Superstar Award Sheldon Wilkins
Martial Arts Author Award Martial Arts Author Award
Jay T. Will, Kempo Self-Defense MauriceJ. Miller, Photo-journalist

1976 1979
Best Fighter Dominic Valera Best Fighter
Best Kata Alex Sternberg Benny “The Jet” Uriquidez
Best Weapons Jason Pai Piao Best Kata George Chung
Best Demonstration Charles Bonet Best Weapons George Crayton
Sensei of the Year Best Demonstration Robert Crosson
Ed Parker Sensei of the Year
Sifu of the Year Louis Neglia
George Crayton Sifu of the Year
Superstar Award Malia Decascos Leung Ting
Martial Arts Author Award Superstar Award Gerald Robbins
George Mattson, Okinawan Karate Martial Arts Photographer Award
Joe Griffith

1977 1980
Best Fighter Bill Wallace Best Fighter Keith Vitali
Best Kata Milagros Tirado Best Kata William Oliver
Best Weapons Dick Chan Best Weapons Tommy May
Best Demonstration Duncan Leung Best Demonstration Rico Mercado
Sensei of the Year Sensei of the Year
Chuck Norris Nick Adler
Sifu of the Year Sifu of the Year
Tayari Casel William Chung
Superstar Award Cynthia Rothrock Superstar Award Chuck Norris
Martial Arts Author Award Martial Arts Author Award
John McGee, Photo-journalist Emil Farkas, The Martial Arts Catalog

183
 1981
Best Fighter
Amateur William Oliver, Bill Wallace
Professional David Claudio
Best Kata Toyotaro Miyazaki
Best Weapons Anthony Chan
Best Demonstration Ronald Duncan
Sensei of the Year
Peter Urban
Sifu of the Year
Anthony Lau
Superstar Award Chuck Norris
Martial Arts Author Award
Al Weiss, Clan of Death: The Ninja;
Joe Hyams, Zen in the Martial Arts

Honorable Mention
for Contribution to the
World of Martial Arts, 1981:
Aaron Banks, Steve Valencia, Don Wilson, Herbie
Thompson, Ron Austin, Bill Wallace, Ray McCall-
um, Cookie Melendez, Graciela Casillas, Sidney
Filson, Mike Warren, Paul Vizzio, Mike Bell, De-
metrius Havanas, Cynthia Rothrock, Maurice
Miller, and Miligros Tirado.

184
INDEX

Advanced self-defense, 161-69 Chinese Arts Association of Hong Kong, 79

Aiki-choke, 119, 121, 129, 136, 150, 166 Chinese Goju, 11-12, 15, 28, 37, 53, 91, 102, 104
Aiki jitsu, 9, 85, 119, 132, 143, 147, 166 alphabet of martial arts, 171-80
see also Aiki-choke; Aiki-lever belt-ranking system, 16
Aiki-lever, 146, 165, 166 hand techniques in, 25, 28
Alphabet of martial arts, 171-80 leg techniques in, 72, 79, 80, 83, 92, 94
Animal forms in self-defense, 161-69 self-defense and, 115-69 passim
see also specific animal forms, e.g. Snake style; see also specific techniques
Tiger style Chinese wrestling, 150
Arm lever, 109 Chi sao, 82
Arnis, 162 Choke(s), 147
Attacking, 58 aiki-, 119, 121, 129, 136, 150, 166
see also Combat; Counterattacking; Self-defense front, countering the, 120-21
Attack zones, 104, 106 Chaun fa, See Kung fu
Chung Wah Martial Arts Association, 79
Coiling snake technique, 82, 149, 165
Bear style, 161 see also Aiki-Choke
Belt-ranking system, 16 Combate 15. iis 14
Bermudez, Marion, 114 children and, 153, 158
Black Belts, 16, 117 tactics and strategy, 106-11
Black Dragon Blocking System, 55-68 Constant forward motion, 53, 61, 66, 78, 91, 108, 109,
applications, 58-68, 125, 127, 130, 144 116, 119, 122, 124, 126, 134, 146, 148, 150, 164,
form and technique, 56-58 168, 173
low palm-up block with upper Constant motion principle, 75, 138, 139
sunfist strike, 62-63 Constant technique flow, 67, 119, 123, 125, 139
palm-up block against upper body punching, 65-66 Coordination, 17, 23, 53
palm-up block and grab with sunfist attack, 67-68 Counterattacking, 13-14, 91
palm-up block with iron palm strike, 60-61 see also Black Dragon Blocking System;
rising block with sunfist, 59-60, 127, 131 Self-defense
side palm block with middle sunfist punch, 64-65 Crane style, 41, 161
Black Dragon Gung Fu system, 51, 74 Critical distance, 13-14, 15, 25, 43
see also Black Dragon Blocking System
Black Tiger of Shantung, 46
Black Tiger style, 46, 47 Daruma, 10
Block-and-counter application, 15, 104, 107 Delgado, Lewis, 86
see also Black Dragon Blocking System; Discipline, 17, 22
Self-defense Doctor, consulting your, 18
Blocking, 13, 14, 58, 91, 143 Dojang, 18
see also Black Dragon Blocking System; Dojo, 18, 104
Self-defense Double-hand striking, 44
Breathing, 18, 58 double tiger claw, 51-52, 85, 111, 123, 125, 128, 129,
see also individual exercises and techniques 137, 139) 145-150) 15564165:
Brown Belts, 16, 117 double wrist attack, 120
Dragon palm 133, 134
Dragon style, 161
Cardiovascular exercises, 18, 23, 143 Dragon tail sweep and iron broom
“Chamber” position, 14-15, 38, 72, 73, 76, 77, 83, 84, combination, 167-69
92, 93, 120, 145 Duncan, Ronald, 150
Chan, President, 79
Chan Chou, 79
Chan Goon Tai, 79, 105 Eagle Claw style, 79, 161
Chen Sing, 105 Elbow strike, 33-34, 95, 109, 110, 111, 119, 135, 137, 138
Chiang Cheh, 79 Elephant style, 161
Children, martial arts education for, 153-159 Emotional content, 17
defense against attempted front grab, 156-57 Endurance, 18, 20, 27
defense against strangers, 158-59 “Escape and evasion” training, 85, 156
defense against wrist grab, 154-56 Exercising, 17-18, 143
China, 10, 11, 41 jackknife, 21
see also Chinese Goju jumping rope, 23

185
 points to remember, 22 Jackknife, 21
push-up, 20 Japan, 11, 85
Eye training, 14 Japanese Goju, 86
Judo, 17
Jumping rope, 23
Face front punch, countering the, 91
Flexibility, 17, 57, 104
Focus, 13, 14 Kanogogi, Rusty, 113
Fong, Leo, 162 Karate, 9) 17), 25; 46, 53; 91), ds, 1437 1477 150
Forms or sets, 46 leg techniques, 86
Front choke, self-defense against, 120-21 origins of, 9-10, 11
Front grab, self-defense against, 14647, 156-57 purposes of, 12-13
Front heel kick, 72-75, 78, 157 see also specific techniques
Front kick, 83-85, 116, 120, 155 “Kata,” 13, 46, 86, 159
Front punch, straight, self-defense against, 115-17 “Kempo,” 11, 86
Funakoshi, Gichin, 11 Kicking. See Leg techniques
Kim, Dr. Richard, 11
Knee to groin, 135, 136, 149
Garcia, Darnell, 162 Knife attacks, self-defense against, 124-29
Goju. See Chinese Goju Korean forms of. martial arts, 71, 113
Golden Harvest Film studios, 105 Kung fu (Gung fu), 9, 10, 11, 17, 18, 25, 41, 46, 71,
Goti, 150 79, 82, 92, 147, 161, 162
Grabbing technique, 77, 78, 89, 91, 93, 107, 135, 138 films, 79, 102, 105, 162
Green Belts, 16, 117 origins of, 10
Gung fu. see Kung fu see also specific techniques
Kwoon, 18
Kyoshi, 16
Hammer strike, overhead, self-defense against, 144-45
Hand techniques, 14, 25-53, 71, 104, 131
double tiger claw, 51-52, 85, 111, 123, 125, 128, 129,
137, B97 145) 150) 155) 164) 165 Law of survival, Van Clief’s, 107
elbow strike, 33-34, 95, 109, 110, 111, 119, 135, Laws of martial arts sciences, Van Clief’s, 102
1S7 lss Lee, Bruce, 41, 71, 79, 82, 104, 161, 162
hook punch, 35-36 Leg techniques, 14-15, 71-98, 104, 131
iron palm, 14, 37-38, 60-61, 121, 125, 126, 140, 149 front heel kick, 72-75, 78, 157
monkey elbow, 39-40, 119, 122, 138, 139 front kick, 83-85, 116, 120, 155
multiple leg and, in combination, 108-11 hook kick, 95-98
snake fist, 14, 41-45 low round kick, 75-78, 91, 108, 167
sunfist, 14, 26-31, 57, 58, 59-60, 62-68, 78, 106, 125, monkey knee, 79-82, 123, 128, 129, 139, 149, 155, 164
27 lS multiple, in combination, 106-11
tiger claw, 14, 46-50, 93, 121, 125, 126, 138, 147, round kick, 93-95, 106, 108, 117, 125, 126
157, 163,.164 side kick, 86-93, 107, 109, 117, 118, 128, 131, 133,
twin sunfist, 31-32 145, 156, 157, 159
Holds, 143, 147 Leopard style, 161
Hong Kong, 79, 105 Leung Ting, Sifu, 41, 79, 162
Hooking blocks, 116 Levers, 107, 110, 143, 146, 147, 165, 166
Hook kick, 95-98 see also Arm lever; Wrist lever
Hook punch, 35-36 Lewis, Joe, 86
Horse style, 161 Liu, John, 105
Hung Gar style, 79 Locks, 143, 147
Low round kick, 75-78, 91, 108, 167

Instant strike force, 66, 68

Instep kick. See Low round kick Mao Ying, Angela, 114
Instructors, 16, 18, 103, 105 Maximum Effort, 60, 66
Introduction to martial arts, 9-16 Melendez, Cookie, 114
Ippons, 115-69 passim Mental attitude, positive, 61, 66
ippon kumite, 104 Middle-section front kick, monkey-elbow
Iron broom and dragon tail sweeps applied against, 40
combination, 167-69 Miyagi, Chojun, 11
Iron elbow, 14 Miyazaki, Toyotaro, 86
Iron palm, 14, 37-38, 121, 125, 126, 140, 149 Monkey elbow, 39-40, 119, 122, 138, 139
palm-up block with, 60-61 Monkey knee, 79-82, 123, 128, 129, 139, 149, 155, 164
lron will training, 27, 150, 175 Monkey style, 79, 161, 164, 166
lsokinetics, 18 Monkey sweep, 167-69
Isometrics, 18 Moo Duk Kwan, 71
Isotonics, 18 Muscle strength and tone, 23

186
Ninja, 85, 86, 119, 136, 150 Shaw Brothers studio, 79, 105
Nisei Goju System, 11 Shin kick. See Low round kick
Shock shove. See Iron palm
Shorinryu, 86
Okinawa, 9-10, 11, 113 Shotokan, 86
Okinawa Goju, 86 Side grab, self-defense against, 122-23
Opening, creating an, 15 Side kick, 86-93, 107, 109, 117, 118, 128, 131, 133,
Origins of martial arts, 9-12 \4!5,, WHS, 7, USS)
Overhead strikes with weapons, self-defense countering the, 90-91
against, 127-29, 144-45 in motion, 92-93
Oyama, Mas, 11 practical application of, 89
Ozawa, Sumiko, 113-14 target variables, 90
Silat, 11
Slap block. See Palm-up block
Pak Mei (White Eyebrow) style, 79 Snake fist, 14, 41-45
Palm-up block, 58 attack and control, 43-44
and grab with sunfist attack, 67-68 attacks in motion, 45
with iron palm strike, 60-61 practical application of, 43
with middle sunfist punch, 64-65 Snake style, 41-45, 82, 133, 147, 148, 161, 164, 165
against upper body punching, 65-66 Snap kicks, 85, 86
with upper sunfist strike, low, 62-63 Southeast Asia, 10-11, 41
Peterson, Lorna, 114 Sparring. See Combat
Phoenix attacks, 132-40 Speed, 13, 14, 17, 26, 53, 55, 104, 178
countering the wrist grab, 136-40 Stamina, 17, 20, 23, 27
Phoenix style, 161 “Sticky hands,” 162
Piao, Jason Pai, 41, 79 Strangers, children and, 158-59
Pentjak, 11 Strategy and tactics, 102-11
Physical fitness, 17-18, 19, 114 attack zones, 104, 106
Power, 13, 17, 26, 27 multiple arm and leg techniques in
Praying Mantis style, 161 combination, 108-111
Presas, Remy, 162 multiple leg techniques in combination, 106-107
Progressive resistance, 27 Strength. See Power
Psycho-physical conditioning process. See Warm up Sunfist, 14, 26-31, 57, 58, 78, 106, 125
Purple Belts, 16, 117 low palm-up block with upper, 62-63
Push-up, 20 palm up block against upper body, 65-66
palm up block and grab with, attack, 67-68
practical application, 31
Rattans, 162 rising block with, 59-60, 127, 131
Rear grab, self-defense against, 118-19, 148-50 side palm block with middle, 64-65
Red Belts, 16 supplementary progressive resistance, 27-28
Renshi, 16 twin, 32-33
Reverse heel kick. See Hook kick Sweeps, 147, 167-69
Ripping techniques, 49
Rising block, 59-60, 127, 131, 144
Rocket punch. See Sunfist
Rosenstein, Harry, 11 Tactics. See Strategy and tactics
Rotary punching. See Sunfist Tae Kwon Do, 9, 17, 18, 71, 86, 113
Rothrock, Cynthia, 114 Taganashi, Reverend Ronald, 86
Round kick, 93-95, 106, 108, 117, 125, 126 Tang Soo Do, 71
see also Low round kick Technical applications chart, Van Clief method of, 103
Ruiz, Frank, 11 “Thai boxers,” 82, 138
Thrust kicks, 85, 86, 89
Tiger claw, 14, 46-50, 93, 121, 125, 126, 138, 147, 157,
Schools, 17, 105 163, 164
Self-defense, 102, 104 double, 51-52, 85, 111, 123, 125, 128, 129, 137, 139,
advanced, using animal forms, 161-69 145, 150, 155, 164, 165
for children, 154-59 practical applications, 48-50
for senior citizens, 143-50 Tiger-Claw School, 46
for women, 113-40 Tiger palm strike, 139
Senior citizens, self-defense for, 143-50 Tiger style, 46-53, 161, 162, 164, 165
against front grab, 146-47 movements of the tiger, 51-53
against overhead hammer strike, 144-45 Tiger tail. See Side kick
against rear grab, 148-50 Timing, 13, 178
Sensei, 16, 105 Tirado, Milagros, 114
Set-up, 123 Training aids, 161, 162
Shaolin Monastery, 46 Trapping hands, 82
Shauble, Leona, 114 Twin sunfist, 31-32

187
United States, 11-12 Women, self-defense for, 113-40
Urban, Peter, 11, 22, 104, 180 countering the wrist grab, 136-40
U.S.A. Goju, 11 famous martial artists, 114
against the front choke, 120-21
against the front lunge knife attack, 124-26
Van Clief, Ron, 12 against the overhead knife attack, 127-29
law of survival, 107 Phoenix attacks, 132-40
laws of martial arts sciences, 102 against the rear grab, 118-19
method of technical applications chart, 103 against the side grab, 122-23
against the straight front punch, 115-17
Wooden man, 161, 162
Wai Hong, Sifu, 46 World Masters in Action Awards, 181-84
Wang Yu, Jimmy 105 Wrist grab, 53, 85, 134
Warm up, 17-23 countering, Phoenix attacks, 136-40
jackknife, 21 self-defense for children
jumping rope, 23 against, 154-56
points to remember, 22 Wrist lever, 107
purposes of, 17, 23
push up, 20
Weapon attacks, self-defense against, 124-29, 144-45 X, 179
Weight loss, 23
Weight training, 27
White Belts, 16, 117 Yamaguchi, Gogen, 11
White Crane style, 79 Yielding, 180
White Eyebrow style, 79
White snake, 42, 134, 164
Wing Tsun style of gung fu, 41, 71, 79, 82, 162 Zen, 12, 86, 176, 180

188
freet

RFrrwed
APR 1982
Mission College
Learning Resource
Services
kOn VAN CLieF has established twenty-five
martial arts schools in the U.S. and eighteen
other countries. He has appeared or starred
in over forty motion pictures, been a stunt
man, a policeman in New York, and a U.S.
Marine. Currently Commissioner of the World
Contact Karate League, he gives frequent
demonstrations, seminars and_ lectures
throughout the world, serves as Technical
Advisor to the U.S. Army Sports Clinic, and
has just completed a videotape program of
instruction for use at over 3,000 Army bases.
He has competed in over 800 tournaments
during eighteen years of international com-
petition, retiring in 1974 as World Champion
Middleweight and (in 1969) Heavyweight
Karate Champion (twice in each title) and
Six times United States Champion. He lives
in New York City.

Jacket design copyright © 1981 by Jacques Chazaud

Rawson, Wade Publishers, Inc.

630 Third Avenue
New York, New York 10017
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THIS COMPLETE, SELF-INSTRUCTIONAL COURSE IN

BASIC AND ADVANCED SELF-DEFENSE TECHNIQUES
INCLUDES:
e Specially adapted techniques for men, women,
children, and senior citizens
e Chinese Goju Karate
e Black Dragon Kung Fu
e Tae Kwon Do
Aiki-jitsu
e Hapkido
e Zen and its relationship to Martial Arts
e-The theory of movement that puts you in control