Martial Arts in the World

The Timeline of Sambo’s Evolution

This history of Sambo matches Winston Churchill’s description of Russia as a “riddle, wrapped in a mystery, inside an enigma.” I spent well over a decade researching, traveling and studying it’s many onion layers. What you read of this history may not be the ultimate truth, but it is the most sensible collection of convincing lies that no one to date has been able to accurately debunk.Only a decade ago, no information could be located anywhere. The new generations weren’t alive for the “Cold War” and the phenomenon of clandestine subterfuge that it had institutionalized Sombo. I hope to fill that void by sharing my version of the story. Sambo (Russian: самбо but also called Sombo in the US and sometimes written in all-caps SOMBO) is a modern martial art, combat sport and self-defense system developed in the former Soviet Union, and recognized as an official sport by the USSR All-Union Sports Committee in 1938, presented by Anatoly Kharlampiev. The word is an acronym of САМозащита Без Оружия (SAMozashchita Bez Oruzhiya) meaning “self-defense without a weapon” in Russian. This grappling style has its roots in traditional folk styles of wrestling such as Armenian Koch, Georgian Chidaoba, Moldovan Trîntǎ, Uzbek Kurash, and Mongolian Khapsagay but also in the martial traditions of the West and of the Far East. How those three veins pump from the same heart is the moral to the story I wish to share with you.

The Three Patriarchs: Spiridonov, Oshchepkov, Kharlampiev

The founders of this style sifted deliberately through all of the world’s martial arts available to them to augment their military’s hand-tohand combat system. Their distinct concentration, their unique perspectives and their individual discoveries resulted in three divergent flavors. The primary founder was Vasili Oshchepkov, a Russian who at age 19 was admitted into Japan’s Kodakan by Professor Jigoro Kano in 1911. In 1913, Oshchepkov was the first Russian, the fourth European in history, to receive a black belt ranking in Judo (eventually earning his nidan; second degree black belt in 1917 out of then only five degrees). In 1921, Oshchepkov served in the Red Army as a commander traveling covertly for special purpose missions into China where he studied Wushu. Oshchepkov had observed Kano’s distillation of Tenjin Shin’yo Ryu Jiujitsu and Kito Ryu Jiujitsu into what he named Judo. Oshchepkov recognized Kano’s genius in distilling Jiujitsu into a deliberate, educational process. When he returned to Russia, he taught judo to elite Red Army forces at the Central Red Army House. He used Kano’s philosophy in formulating the early development of his new Russian art. Sambo was in part born of native Russian and other regional styles of grappling and combative wrestling, bolstered with the most useful and adaptable concepts and techniques from the rest of the world. Its early development stemmed from the independent efforts of another Russian, Victor Spiridonov, a combat veteran of World War I, to integrate the techniques of Jiujitsu into native wrestling styles. His “soft-style” was based on the fact that he received a bayonet wound during the Russo-Japanese war which left his left arm lame.

In 1918, Lenin created Vseobuch (Vseobshchee voennoye obuchienie or “General Military Training”) under the leadership of N.I. Podvoyskiy to train the Red Army. The task of developing and organizing Russian military hand-to-hand combat training fell to K. Voroshilov, who in turn, created the NKVD physical training center, “Dinamo.”

Spiridonov was one of the first grappling and self-defense instructors hired for Dinamo. As a “combatives investigator” for Dinamo, he drew from Judo and Jiujitsu, Greco-Roman wrestling, American Catch-wrestling, non-sport British pugilism and Dutch Silat, and many Slavic wrestling styles.

Both Oshchepkov and Spiridonov hoped that the Russian styles could be improved by an infusion of the techniques distilled from Jiujitsu by Kano into the new “Judo” style of grappling. In 1923, Oshchepkov and Spiridonov collaborated with a team of other experts on a grant from the Soviet government to improve the Red Army’s hand-to-hand combat system. Spiridonov had envisioned integrating the entire world’s fighting systems into one comprehensive style that could adapt to any threat. Oshchepkov focused on creating a consistently successful competitive fighting format for teaching the various departments within the Soviet military.

Their development team was supplemented by Anatoly Kharlampiev and Ivan Vasilievich Vasiliev who also traveled the globe to study the native fighting arts of the world. Ten years in the making, their catalogue of techniques was instrumental in formulating the early framework of the art. Here, Oshchepkov’s and Spiridonov’s improvements in Russian wrestling slipped into the military’s hand-to-hand-combat system.

Kharlampiev is often called the “father of Sombo.” This may be largely semantics since only he had the longevity and political connections to remain with the art while the new system was called “Sambo”. However, Kharlampiev’s political maneuvering is single-handedly responsible for the USSR Committee of Sport accepting it as the official combat sport of the Soviet Union in 1938 - decidedly the styles “birth”.

Spiridonov, however, was the first to actually begin referring to the new system as Samoz, short for “Samozashchita” or Self-defense. Samoz was a softer, more aikido-like system that could be used by smaller, weaker practitioners or even wounded soldiers and secret agents. Spiridonov’s inspiration to develop Samoz stemmed from his injury that he suffered that greatly restricted his ability. Refined versions of the style are still used today or fused with specific applications to meet the needs of modern Russian commandos.

Each technique for the style was carefully dissected and considered for its merits, and if found acceptable in unarmed combat, refined to reach Sambo’s ultimate goal: stop an armed or unarmed adversary in the least time possible. Thus, the best techniques of Jiujitsu and its more competitive cousin Judo, entered into the the styles repertoire. When the techniques were perfected, they were woven into applications for personal self-defense, police, crowd control, border guards, secret police, dignitary protection, psychiatric hospital staff, military, and commandos.

In 1929, Oshchepkov was invited to Dinamo, where he took the sportive form of SAMOZ, coupled with the Randori (the competitive act of applying techniques against fully-resistant, non-compliant, uncooperative partners who were attempting to equally apply techniques) concept of Judo and the physical education conditioning of Wushu to form the style.

Oshchepkov was enamored with the principle of force-on-force training with a fully resistant partner to experience the requirement of timing and rhythm to apply techniques. He regularly conducted competitions between Leningrad and Moscow gyms in order to field test his theories and techniques. Oshchepkov’s study of physical training, early kinesiology and biomechanics, from pioneers such as Muller, Buk, and Suren was just as important a contribution as the Randori methodology of training techniques under resistance.

The Leningrad Sport Committee abolished Oshchepkov’s competition between Leningrad and Moscow fighters. The Soviet State regime did not want to recognize the part Japanese Judo played in the new freestyle fighting (not yet officially named.) The State insisted on eliminating every reference to Judo. Oshchepkov sent harshly critical letters to the All-USSR Sport Committee, Army’s Inspection of Physical Culture and Sport, in Moscow, Leningrad, Ukraine and Beyond-Caucasus Institutes of Physical Culture.

In 1937, the entire country was under the pressure of nightly arrests. The slogan “better to arrest ten innocent than to miss one spy” was the basis for the inner security service of that year. The criterion of criminal unreliability was very simple: a man would be arrested if he made foreign travel or had relatives or friends in other countries. As Oshchepkov lived in Japan studying directly with Kano, he belonged to this category. On September 29, 1937, the decree read: “Oshchepkov Vasili Sergeevich is sufficiently unmasked as Japanese spy… citizen Oshchepkov is prosecuted due to clause 58 article 6.” In the night of October 1, 1937 he was arrested in his home. Although a staunch patriot wrongly accused of being a Japanese spy, ten days after his arrest, Oshchepkov was led to a Siberian Gulag and subsequently shot in the head for his fraternization with “Japanese imperialists.”

Sambo would have disappeared at this point, if it weren’t for the political savvy of one of Oshchepkov’s students, Anatoly Kharlampiev, who used cunning diplomacy to revise the history of the art. Kharlampiev redefined the style to be a compilation of techniques from various Soviet Republics, an exclusively Soviet State-centric combat system and sport.

In 1938, Kharlampiev’s Sambo’s history was acknowledged, unsurprisingly by the All-USSR State Sport Committee as his creation based upon Soviet training methodologies and heritage. From this point forward, it would be known as the fighting art of the Motherland. Its adherents and promoters surrounded it with all of the patriotic nationalism associated with the former Soviet Union.

In 1942, a covert special military operations school prepared professional assassins named Volkodav (wolf-killer). The 18 trainers at the school were under the management of two time “Hero of the Soviet Union” and Captain of Marine Reconnaissance, Nikolai Leonov, the sworn enemy of Adolph Hitler. Their training was informally called as “a system of survival in extreme conditions” (sometimes just “the system” or Systema and sometimes just “survival” or Vyzhivaniya). It was intended strictly for the officers of Soviet Army GRU Spetsnaz.

One of the best graduates of this school was Alexsei Kadochnikov, often referred to as “Grandfather” and a legend among Soviet Spetsnaz. As direct schooling from the Spiridonov’s tradition, Kadochnikov inserted his academic engineering into this biomechanical perspective. He established the principle of efficiency as the primary emphasis of all training. The style of hand-to- hand fighting, designed by Kadochnikov, is a direct descendent of Spiridonov’s school.

In the 1970s, the Russian art flooded the international Judo competitive scene and revamped the entire perspective of what it meant to grapple. So strong were the Soviet Sambists in Judo competition and so successful, that rules changes were made to limit the use of their unique strengths and skills.

In 1980, Sambo was a demonstration sport at the Olympic Games in Moscow, Russia. However, due to boycotts, it failed to bring sufficient numbers for continued inclusion as a participatory game. That was nearly the death-knell for the discipline, as in less than 20 years, the Soviet Union would fall, and with it all of the State sponsored athletic programs, including the Russian fighting art.

According to the International Federation of Associated Wrestling Styles (FILA), it is one of the four main forms of amateur competitive wrestling practiced internationally today, the other three being Greco-Roman wrestling, Freestyle wrestling and Judo. FILA accepted it as the 3rd style of international wrestling in 1968 until it formed its own organization Federation International Amateur Sambo (FIAS) in 1985.

In the mid-1980s, Combat Sambo competitions began to be held. These “no-holds-barred” mixed martial art competitions invited any fighter of any background to compete in their win by knockout or submission only competition. Although called barbaric, this ushered in new life into the art.

My Entry into the Timeline

In 1991, I began training with Andrew Bachman, Sambo World Bronze Medalist. With him, I fought on the USA SOMBO Team, and was elected as USA National SOMBO Team Coach for the United States SOMBO Association. Andy introduced me to his coach, who happened to by an US Olympic Greco-Roman wrestler alternate, five time World Sambo silver medalist, a Class A gymnast and the only man to ever defeat Havalia Hussein – known as “The Great One” in Sombo. He received his Master of Sport rank directly from Evgeny Mikhailovich Chumakov, the training partner and advisor to Anatoly Kharlampiev. Chumakov, the USSR Champion of Sombo, was the author of the famous “100 Lessons of Sombo.” Unfortunately, despite this man’s incredible fighting abilities, he is now a convicted criminal and I don’t want to give him any energy by publishing his real name. During this time, I was introduced to Josh Henson, one of the most significant figures in Sombo’s history, President of FIAS, and international promoter of the sport. Mr. Henson and I worked together for quite a few years, and although we had a rocky relationship, I learned a great deal from him. In 1992, I was appointed as the President of the association in charge of American Combat SOMBO. I was appointed with the task of creating the American SOMBO Belt Ranking System. I became very well acquainted with Kharlampiev’s Sombo through this experience, but my quest demanded that I look deeper into the history. Inconsistencies and blatant disinformation caused me to push further. My investigations caused me to be named “unpatriotic” for studying with Russians and former Soviet coaches and athletes. And I became the “black sheep” of American SOMBO for many years, until I basically out-lived the involvement of those incumbent officials.

In 1993, I began working with Michael Galperin, whose teacher was one of Oshchepkov’s students and Kharlampiev’s partners, Ivan Vasiliev. Mr. Galperin honored me with as an honorary lifetime member of his organization, the United States Combat Sombo Association. From Mr. Galperin, I came to learn more about Oshchepkov’s Sombo, and its distinction from Kharlampievan style. Those discoveries spurred me deeper into my studies, especially when I stood right in the middle of a huge political eruption in Sombo…

In 1993, FIAS split into two organizations. I was there. But I was still too young in Sombo to understand what had happened and why it was so monumental. To me, it just seemed like an argument, a vote, and people storming out of the meeting. The content, the controversy, is irrelevant. It’s arguable that all martial arts that get to the level of popularity of Sombo, will face this… Both organizations used the same name and logo. I actually made the mistake of trying to mend the two organizations together by agreeing to be on the USA National Coaching Staff for both. I suspect that I only managed to focus their arguments on me rather than doing any good.

And although in 2005, FILA reached an agreement with one of the two organizations to reassume control over the sport, the other organization claims that the two organizations were reunified in 2006. At present FILA sanctions international competition in the style as does FIAS. Both organizations conduct separate world championships and other international events. By the time you read this, it’s likely that more political changes may occur.

But then… July 14, 1995, at the 6th tournament of a new so-called “noholds- barred” sport, the Ultimate Fighting Championships® (VI), a two time Russian Sombo Champion astounded the world: Oleg Taktarov. “Sombo is not just a style,” observed Mr. Taktarov, “But rather a combination of all the best techniques in any self-defense, martial art, and fighting style.” Oleg was not only a Russian Sombo champion, but also the four time full-contact Euro-Asian Jiujitsu Champion. He demonstrated, and more importantly stated, that Sombo was an evolving strategy. I observed his fighting style adapt with each new opponent he faced, and became reinvigorated in my investigation and practice.

What is important is how the above time-line merges next, and how the different lineages converged in my training.

In 1996, I received an invitation from Alexander Ivanovich Retuinskih, a Red Army commander, who was a student of and eventually partner to Alexsei Kadochnikov from 1976-1982. Mr. Retuinskih was a former USSR Sombo and Judo Champion, Distinguished Master of Sport in Sombo and Judo, Distinguished Coach of Russia, and the founder of “Systema” R.O.S.S.

Alexei Kadochnikov followed Spiridonov’s SAMOZ closely, since Kadochnikov was also a professor of engineering. When Retuinskih began to improve upon his teaching, Kadochnikov partnered with Retuinskih in co-research and development. It was at this point, where relations between Kadochnikov and Retuinskih became pressured. Kadochnikov believed that competitive resistance did not help improve fighters for combat. It is important to understand Mr. Retuinskih’s history in order to appreciate the different path his training took from Mr. Kadochnikov.

When Alexander Retuinskih was 7 years old, he began learning specialized gymnastics/acrobatics, that later formed his interest in biomechanics and psychology. At the age of 12, he began studying boxing; at 14, Sombo and Combat Sombo; and at age 19, Judo and hand-to-hand fighting. He became a Master of Sport in Sombo and Judo and a champion of different competitions in Russia and the USSR. In the 1980’s, he began researching Russian Martial Arts. From 1982-1989 he was an Instructor of hand-to-hand combat for the police of Krasnodar and Krasnodarskay oblast. It was in 1991, that Mr. Kadochnikov and Mr. Retuinskih finally split and went different ways.

Beginning in 1991, Mr. Retuinskih was the organizer and leader of the International and All-Russian Training-Practical Seminars on RMA. Beginning in 1993 he became Chairman of the Russian Combat Sombo Committee of the Russian Sambo Federation and Vice- Chairman of the International Combat Sombo Commission of FIAS (International Sambo Federation) and the General Director of the RETAL (Russian Combat Skill Consultant Scientific & Practical Training Center).

Soviet special forces training held the condition of “absolute secrecy” - so the nebulous designation of “Systema” - or plainly, “the system” - was assigned to special forces combatives training - another prominent reference call-sign was “Combat Sombo Spetsnaz.” During the fall of the Soviet Union, many trainers were left in the field to fend for themselves. As a result, we saw the emergence of a diverse amount of styles appear such as Vyzhivaniya (”Survival”), Rukopashni Boi (”Hand to hand combat”), Kulachni Boi (”Hand to hand fighting”), as Kadochnikov’s Systema, Vasiliev’s Systema, Ryabko’s Systema, etc…

In 1995, Alexander Retuinskih patented Rossijskaya Otechestvennaya Systema Samozashchity or in acronym, R.O.S.S., “Russian Native System of Self-defense.” He did this to create a sense of Russian identification and pride, to create an understanding of Russian Martial Art as an entire System. But he also did this to differentiate his System from others, so that people would understand Retuinskih had devised a unique system of combative education based upon his unique study and experience, and that of his research and development team. The ROSS educational system was patented as “Know-How” (registered with the State enterprise “Informpatent” Committee of the Russian Federation by patent and trademark on April 4, 1995).

Beginning in 1997 he became the Chief of the Department of Hand to Hand Combat for Cossack Military. He was ranked as a General of the Cossack Military. With his interaction with the Cossack population came a large influx of interaction with the Cossack folk styles of martial art, such as Sploch.

In 1998, at St. Petersburg State Academy of Physical Culture, the Department of Bayonet Fencing and Russian Martial Art ROSS was opened. Now, Mr. Retuinskih writes dissertation at the Department of Hand-to-hand Combat of St. Petersburg Military College of Physical Culture. The Subject of the dissertation is “Methodic ‘ROSS’ used in teaching”. In February of 2000 Retuinskih was awarded the highest award in sports, the “Distinguished Coach of Russia.”

In 1998, I began working with Boris Shapovalov, Distinguished Master of Sport in Sombo, President of the Ukrainian Federation of Russian-Style Martial Art (Kadochnikov System) and Chairman of the Police Sombo Commission for FIAS. With Mr. Shapovalov’s guidance, I coached the first in history USA Police Sombo Team, competing in the 1999 World Police Sombo Championships in Lithuania. From Mr. Shapovalov, an expert in both Mr. Kadochnikov’s “Systema” and Mr. Retuinskih’s ROSS, I came to understand the actual pedagogical differences between the systems of Retuinskih and Kadochnikov.

I also had the honor of training with the last of the royal line of pre- Soviet Russia, the late Prince Boris Golitsin, who in the Great Patriotic War received a maiming bayonet wound to his right shoulder. He composed a fighting system based upon his father’s teaching of “Golitsin family-style” (a pre-Soviet, Russian Martial Art) to accommodate his “disability” - though after training with him, I would hardly qualify it as a disability, since with one mostly paralyzed arm, I saw him bayonet fight three men, and have personally felt the pain of his whack. However, this was an independent line having only recently collaborated with ROSS (in the past 10 years).

Mr. Retuinskih studied extensively with the famous Alexander Mikhailovich Krivorotov, the first in history Distinguished Coach of Russia in Sombo, direct student of Viktor Oshchepkov. Krivorotov, due to Mr. Retuinskih’s exhaustive research and development, began studying under Retuinskih. I’ve had the distinct honor of training with Mr. Krivorotov. It’s difficult to describe to people what it was like training with the world’s best Sombo coach. Suffice it to say that I learned the difference between amateur and professional training.

Mr. Retuinskih also trained with Vladimir V. Volosov, Distinguished Coach of Russia in Sombo, Chairman of Sambo Academy in Kstovo - the world’s largest Sombo academy; Vladimir P. Guliaev - Distinguished Coach of Bashkiria in Sambo; Uriu A. Shulik - Master of Sport in Sambo, Doctor of Pedagogical Sciences, the current Professor of Krasnodar State Academy of Physical Culture; G. Potoroka - Master of Sport in Sambo and Judo (deceased). With my experience with Mr. Retuinskih, I gained the final complete picture on Sambo: Kharlamievan, Oschepkovan, and Spiridonovan styles.

Beginning in 1999, I served as Vice-President of the American Amateur Sambo Federation, the US governing body for the sport of Sambo, under the guidance and company of Dr. Leonid Polyakov, FIAS Vice-President, AASF President, who received his Doctorate of Physical Education through a dissertation on Sambo itself. By Dr. Polyakov, in 1999, I was awarded the Distinguished Master of Sport in SAMBO, the highest achievement in SAMBO, for my contributions to the sport. Dr. Polyakov through our meetings and travels connected me with the international leader of Sambo, Mr. Tikhomirov.

FIAS President and All-Russian Sambo Federation President, Mikhail Tikhomirov appointed me as the Chairman of the International Combat Sambo Commission for FIAS in 1999 when we were together in Lithuania for the World Police Sambo Championships.

In 2000, Igor Yakimov, World Sambo and Judo Champion, and North America’s highest-rated Sambo Coach, appointed me as the USA Director of United Federation of Russian Sambo. Mr. Yakimov and I worked together for a short time in the attempt to bring “Combat Sambo” tournaments to the West.

In 2006, I began coordinating efforts with a young mustang organization, the American Sambo Association and its President, Stephen Koepfer. Steve remained refreshingly apolitical despite extreme pressures to the contrary, and developed his own variation on sport rules called “Free-style Sambo” – which includes chokes, strangulations and positional fighting opportunity for Sambo athletes. The development of Steve’s organization is another example of evolution erupting, regardless of oppressive attempts to confine and traditionalize Sambo.

Three Rivers Return to One I have an interwoven history with Sambo, and for whatever divine grace was given the opportunity to train only one step removed from each of the founders of Sambo – Spiridonov, Oshchepkov and Kharlampiev, and the three “flavors” that they created. From Spiridonov: we have inherited an emphasis on efficiency over effort, on leveraging our strengths and mitigate our weaknesses until such a time that they too become strengths. From Oshchepkov: we have inherited a practical measuring stick to determine the efficacy of our theories, a cauldron in which we can melt away the slag from the pure gold so that no potentially valuable method goes uninvestigated or unevaluated. From Kharlampiev: we have inherited the flexibility to continue our discipline no matter what the format in whole or in part so that we can ensure that our legacy will continue to survive.

Each vein of Sambo has kept the heart of this creature alive. Although once separate, I believe they are now integrated. They each have pumped the life into the content of this article, and they each speak to you through it.

I believe that I have earned the right to say what I believe was the original intent of Sambo, and I believe that I have earned the right to renovate Sambo to meet the needs and desires of modern day fighters. I realize that doing so will not sit well with traditionalists who believe Sambo should stay “as it was.” They are wrong.

Sambo was never in its history a specific style. It evolved with history. It adapted to the challenges threatening its existence. It survived all of the attempts foreign and domestic to squash the methodology from existence.

When you read the core doctrine of Sambo, I believe you will see why I believe it is the direct descendent not just in lineage but in bone and flesh of each of the forefathers of this discipline.

My Philosophy of Sambo I’ve laid out this article in step-by-step format, so that it’s easiest to understand. You can start at the bottom with technique and work backwards up to tactics. The inherent strategies are embedded so you don’t really have to understand them at the beginning. The underlying beliefs (or doctrine) are self-explanatory, but if you do understand what beliefs created this science, since all science is based upon underlying assumptions, then you’ll be able to question those beliefs, and once you accept them, strengthen them.

RMAX Sambo Philosophy

• Doctrine S.E.A.T.
• Strategies Position Before Submission
• Tactics The Saddle Series and Transitions
• Techniques The Seven Core Leg Locks

S.E.A.T. Sambo Doctrine • Sustainability: In order for a training method to be useful, it must be non-destructive to the practitioner. If you cannot sustain the ability to practice it because it destroys your body, it will not be of any use when you need it.

• Evolution: One needs to experience the unexpected and unfamiliar in order to foster continued evolution. Although sound mechanics are universal, training methods must be allowed to evolve as all approaches are relative to the time, culture and event in which they were born. Any means necessary to accomplish the task. Any potentially valuable method should be weighed and tested on its own merit regardless of origin or association.

• Aliveness: One needs fully alive resistance to become mentally tough and emotionally controlled. Only through actual uncooperative competitive opposition does one truly own knowledge.

• Transferability: Good mechanics are universal (context-free), so studying them will allow you adaptability to whatever circumstances you encounter. Regardless of what format, so long as ideas are considered and tested, the adaptation is always organic, never in isolation.

These above original intentions have all been neglected, ignored or redefined in an emasculated manner with the ‘traditionalizing’ of Sambo. I have no taste for it, and stay true to the original intentions listed above.

The 3 Strategies of Sambo There are three modes of Sambo that end up being taught, though these are different than the traditional 3 flavors of Sambo (which were selfdefense, combat and sport):

• Self-Defense: Self-Defense oriented Sambo involves a very large curriculum of techniques resembling stand-up Jiujitsu, ground Judo, Boxing and Kickboxing. Unfortunately, due to the volume of material, there is often not enough time spent facing resistant opponents. However, it doesn’t claim to be a competitive sphere of martial art. Self-Defense Sambo should remain an adjunct to competitive resistance so that the more fine motor techniques have a platform of timing and rhythm which only alive, dynamic resistance creates within the nervous system. There are many in the West who only train in Self-defense Sambo, when it was never intended to be trained in to the exclusion of the other two aspects.

• Sport-Wrestling: Sport Sambo is an incredibly athletic game which is much like a combination of Judo and Freestyle wrestling, but including leg locks and excluding chokes. However, from its birth to the current day, it remains besieged with politics. From one organization and one event to the next, the rules are so different that it’s difficult to prepare and have a good time. Moreover, the rules have become so restrictive that preparing for sport Sambo requires that you to become a lesser overall fighter (from a mixed martial arts perspective). Basically, you have to train dangerous habits, like exposing your neck to strangulation, or never developing a good closed guard game.

• Mixed-Fight or “Combat Sambo”: I know that the traditionalists will be in a tizzy over me saying that one of the flavors of Sambo is mixed martial arts (MMA). I say this not because it was a deliberate intention of the founders (although, historically, I could argue that easily, especially since few people truly know the history of Sambo). I say this because it is the mode of actually studying the discipline. When you go to class, and work in dynamic drills, you face people of diverse backgrounds, levels and abilities. With no formalized ranks in Combat Sambo, everyone fights everyone. What I’m saying here is that the mode in which Combat Sambo is studied is more important than the content of the actual class: facing other martial artists of mixed backgrounds. This is the superiority of Combat Sambo as a delivery system for timing and rhythm, the essential virtues of fighting efficacy.

I find category 3 – Sambo for MMA or “Combat Sambo” – to be the most athletically stimulating, intellectually challenging and personally/ professionally fulfilling. So, when I’m discussing tactics and techniques, I am only speaking to fighting other martial artists – MMA - not to Sport-wrestling or Self-defense.

Originally, these three flavors were meant to be synergistic, but frankly, most non-professionals do not have the time, energy or inclination to practice all three. Most people aren’t familiar enough with Sportwrestling Sambo to be interested, and most people will not invest the long years of practice to refine the Self-defense aspects of Sambo. But that’s not relevant to this article, which regards specifically Combat Sambo and its stage in the mixed martial arts world.

For the past 20 years, I've developed what I call the "Six Strategies in Jacket Wrestling." This is a theory that I compiled over years of coaching and traveling internationally as US Sambo Team coach. Most people bicker about the Tactical level of implementation in Sambo. They say, "I'd rather do it this way, rather than that way," or "I'd rather wrestle for submission rather than try to throw him for total victory." But this kind of debate between players is of low value without a comprehensive appreciation for the Strategic level that influences and determines the Tactics one employs.

Although and internationally recognized sport, Sambo is a Russian martial art, and as such is a part of an

Scott Sonnon executing a Standing Whip throw.

Scott Sonnon performing the Russian Flying Armbar; applied as a leaping attack as opposed to the "guard pull" armbar.

Scott Sonnon applying the Side Saddle Double Achilles Lock.

Integrated Cultural Philosophy. Actually saying Philosophy and Culture is redundant, for "Culture" is the lived-philosophy of a people. A true Philosophy is a System of Theory and Application. Theory and application are two wheels of the same cart, as my mentor, Dr. Jonathon Ellsworth Winter used to note. If we look from a cultural perspective, we gain a unique insight into what philosophy created Sambo, and imbues it. A Philosophy (read "Culture") is the way in which a substance (or people) adapt to the situation.

A culture comprises a set of basic beliefs that form their Subsistence Strategy (general approach to resource acquisition, such as hunting-gathering, horticulture, pastoralism or agriculture), and Survival Skills (specific methods, or tactics, for accomplishing the subsistence strategy; a subset of which are martial traditions - how a people address competition for resources.)

The proper definition of a philosophy can be seen as comprising

* Doctrine: general beliefs, or world view
* Strategy: broad brush plans for perpetuating doctrinal beliefs
* Tactic: specific maneuvers for accomplishing strategic objectives
* Technique: the specific mechanics used within a tactic at any one time

In jacket wrestling, to argue on a Tactical level has very low value, unless the overriding Strategy is fully understood, which in turn has no relevance unless the Doctrine is fully comprehended, which is non-sensical unless the conditions that evolved the general beliefs are fully actualized.

What conditions brought forth our method of jacket wrestling that is called Russian Sambo? The Eastern Slavs, the Russian-Style ancestors, were basically a non-warfaring people. No, they were not peace-loving either. Being tribal, they did not ascribe to the War/Peace paradigm. They fought when their was need, when the invaders came... not for conquest. The environmental conditions: cold weather demands heavy clothing; snow/ice demands a particular type of footwear. Limited resources demanded rather precise economy of caloric output. There was no sense in struggling more than necessary. When fighting on the ice-covered lake in 1242, I am certain that Yevtapi Kolovrat wanted an end to the battle with the Golden Horde ASAP.

The Slavs fought shoulder to shoulder in wave upon wave. One fallen enemy was trampled or speared by the subsequent row of advancing Slavs, if the enemy was not finished from the impact with the frozen earth and water. "The Earth is a fist." From this background a doctrine formed: the most advantageous position to be in is standing facing your opponent who is on the ground; the most disadvantageous position to be in is on the ground facing a standing opponent.

From this doctrine formed the strategy, we know as "Total Victory" - to place a man upon his back while remaining standing with the least amount of energy expenditure. From this strategy formed the diverse array of tactics to accomplish the Total Victory, which is seen as the ultimate demonstration of skill in Russian Sambo.

Russian Sambo is very much Judo-esqe" - it is Sambo's Sister. Judo values as much as Sambo the Total Victory named "Ippon" in Japanese. In current time, Sambo appears to differ stylistically since most grappling is taught as a technique-based system of education. However, the original, authentic intent of Judo was the same as Sambo. The notion of technique in Judo was to exemplify a particular arrangement/amalgam of five basic principles. Each technique was designed to be a study of the principles, having little value if taken outside of those context. In modern times, when people study without a teacher (the bulk of practitioners are "tape-taught"), 99% look to the technique as the end, not the means.

When we encounter other groups, we must recognize that they have Strategies, Doctrinal Beliefs, and differing situational/environmental factors that formed their beliefs. For instance, the notion of "groundfighting" which typifies Brazilian Jiujitsu is very different than that of Russian Sambo.

Sambo is a style of jacket wrestling. The highest demonstration of skill in Sambo is the "total victory" throw. Now most people may misunderstand that a great deal of emphasis is devoted to throws. It is the doctrinal belief and the strategic objective that must be understood to appreciate Sambo at a tactical and technical level.

Examples of the Philosophy of Sambo

Here are some examples of Sambo's martial philosophy: Environment Influences, Doctrine, Strategy, Tactic, Technique

* Environmental Influences: (stated above)
* Doctrinal belief: The most advantageous position to be in on a battlefield is standing facing your opponent. The most disadvantageous position to be in is on the ground facing a standing opponent.
* Strategic Objective: Get your opponent to the ground in the most expedient manner while remaining standing, despite the treacherous terrain (ice/snow)
* Tactical Maneuver: Throw your opponent in such a way that you do not disturb the terrain greatly, nor expend a great deal of energy. Takedown your opponent in such a way that he has no chance to restabilize the breach of stance integrity and is stunned by the impact with the Earth.
* Technical Application - {onsite innovation} You will see what appears to be "groundwork" but this is a subordinate function in Russian Sambo.

Here is a second example.

* Environmental Influences: (stated above)
* Doctrine: Same as above
* Strategic Objective: If you cannot remain standing, get your opponent to the ground in such a way that you are in a superior position to apply a finishing hold immediately.
* Tactical Maneuver: Throws and Takedowns that require you to engage the ground should either immediately be decisive through a lock or should be immobilizing through a hold-down.
* Technical Application - {onsite innovation} If your focus is to learn submission groundwork, your involvement with Jiujitsu is ideal - that game concentrates on this. Sambo is very much a "throwing" sport. Yes, there is a great deal that Sambo can contribute to the submission wrestling but it must be an honest contribution - Sambo is jacket wrestling. I have seen Sambo players overconfident so that their play is submission wrestling. It is much more accurate to say that what Sambo is jacket wrestling. Submission wrestling is a ancillary aspect, a subordinate strategy within Sambo.

Perhaps I can finalize this by:

* Environmental Influences: (stated above)
* Doctrine: Again, same as above...
* Strategic Objective: Should you lose a dominant position or fail to apply a submission, get out and stand up.
* Tactical Maneuver: Escapes and Reversals to withdraw and stand.
* Technical Application - {onsite innovation} In the 60's and 70's Judo, Europe experienced a revolution as Russian Sambo players entered the Judo theatre. The new Sambo method to Judo events changed the manner in which Classic Judo strategically approached competition. Some said it was a deliberate improvisation, others said it was an inadvertent adaptation to the external influence of Sambo in Judo competitions that the nature of Judo strategy for many was not changed but expanded in scope. Brazilian Jiujitsu has been the stimulus of a new revolution, and a new strategy, now... in Russian Sambo.

A new strategic approach has many coaches on the chalkboard evaluating the new external influence. Sambo had the approach I detailed above, but now considers the new strategic approach in jacket wrestling: Entice your opponent into a ground-fighting environment where the player chooses not to heavily emphasized. In Sambo, the coach trains the player in an organic approach to the sport.

The Six Strategies to Win in Sambo

1. Jacket manipulation, breach of stance integrity, takedown/throw - Total Victory.
2. Jacket control, feint/bait, counter - Total Victory.
3. Above, but both players go to ground, where the submission hold is applied on the way to completion of throw/takedown.
4. Above, but both players go to ground, where the submission is attained upon completion of the throw/takedown.
5. Throw/takedowns for points, stall, stand, redo... until win by point superiority by time or degree (12 pts.)
6. Above, but to ground volley until positional dominance, holddown, work for submission.

#6 is only a meager portion of the approach and in Sambo, coaches train their sportsman in the above order from 1-6, but here now... we have seen the appearance of a new pedagogical approach: Coach the players from #6 first, then work up to #1.

Sambo has adopted the position that since their strategic approach wins consistently 95% of the time within the parameters of Sambo that one ought to continue to hone one's talents over one's lifetime of jacket wrestling. One does so this because the objective is not victory but transformation and development. As we get older, we get better.

I was amazed when the old men in Russia could dust me with ease. That was the point I learned. If a strategic approach cannot adapt to new influences, it proves to be evolutionarily unstable, and it will be unselected for continuation. However, if an approach has continued to exist, it is valid.

No strategic approach is better than another. They are just different, each equally valid within the context of their approach. Mastery must be mastery of something. In order to transfer wisdom to our every activity, we need a microcosm, a focus group, an accelerated arena to explore the wisdom of behavior... a "delivery system" for our development.

We grow within our Philosophy... our cultural perspective. In context of Sambo sport-wrestling, this is the first and foremost guideline - Do not expect victory without understand the nature of the game. Players who are multi-sport active tend to be highly adaptive, IF they are informed. They also tend to bring a great deal of evolutionarily stable strategies to the development of the sport as a result.

Contrarily, players who are multi-sport active and do not have a coach that informs them and prepares them appropriately are in jeopardy of defeat and even worse harm.

Their coach should prohibit competition until a complete comprehension of the rules, conduct of play and objectives are clearly articulated by the coach and internalized by the player. The most effective manner to do this is to require player to train as officials simultaneous to training as competitors. Having the vantage point of an official affords the single best opportunity for developing a cohesive, effective competitive strategy. For example: when adopting a heavy "#6-type" strategy (the "groundfighting" approach), it is highly critical to realize the perspective of the Sambo official/referee. If a player falls to his back and the other remains standing, the match is over - Total Victory throw conclusive. In this type of strategy, it is crucial to enter the opponent into par terre through contact of at least one knee with the mat.

Sambo developed out of the doctrinal belief system of the Slavic peoples which formed out of certain environmental condition and influences. As a result, a particular strategic approach tends to be the most effective for Sambo sport-wrestling.

This is what it means in the difference between practice and training in Sambo and competing in Sambo. One can compete in Sambo, without having practiced in and trained for Sambo. However, the most effective strategy to develop a strategic approach forged directly from understanding the doctrinal intent which developed the sport.

There are numerous accounts and legends of the origins and history of the Shaolin Temple. In my humble opinion this is the story of Shaolin. Most likely you learned of the Shaolin Temple through the Chop Sokey Kung Fu movies and the Kung Fu TV series of the 70’s. Some of what you watch was true, yet some of the story lines are fictional. There were indeed 36 Chambers that a monk would have to successfully complete before exiting the temple and graduating. In the Kung Fu TV movie and series young Cain picked up the burning urn between his forearms to engrave the tiger and dragon. In reality that scene is authentic, however in actuality the engravings on the forearms were both dragons. The legendary Shaolin Temple (Sil Lum in Cantonese) was also known as the “Number One Temple under Heaven” due of those incredible fighting monks. The Chinese characters for Shaolin translate to “Youthful Forrest” or “Youthful Gathering.” Shaolin is the mother of all Asian martial arts (Karate, Tae Kwon Do, Jiu Jitsu, etc.). Kung Fu went from mainland China to the island of Okinawa and later to Japan in the early 1900’s. They called it “karate” which originally translated to “Chinese hands.” Shaolin is translated to the Japanese language as Shorin-ji. Shorin-ji Karate came from Shaolin Kung Fu. The Indian monk Bodhidharma also known as Damo traveled to the Shaolin Temple taught the monks internal exercises for health, yet he was not the originator of Shaolin Kung Fu. Thousands of years before Damo’s visit there were already fighting arts in China. Shaolin is part of the rich history of China.

The Shaolin Temple was a place where numerous martial artists including fugitives hiding from the authorities, met and shared their martial arts systems. This was a place where different styles and weapons were put to the test before they went out to do battle. You can say that Shaolin was the first mixed martial arts arena. The Northern Shaolin Temple was burned in approximately the 1750’s AD. According to Chinese legends, a monk by the name of Gee Seen survived the burning and traveled to Southern China to become the Abbot of the Southern Shaolin Temple. Gee Seen used the Southern Temple as an underground training center to overthrow the Ching Dynasty and restore the Chinese ran Ming Dynasty. Numerous other styles of Kung Fu originated in the Southern Shaolin Temple including Hung Gar which I’m a Master of and Wing Chung popularized by Bruce Lee. There are five family styles that came from the Southern Shaolin Temple they are Hung, Lau, Choy, Li and Mok. These family kung fu systems continued the Shaolin tradition as rebels fighting the Ching Dynasty. The Southern Shaolin Temple taught the monks the 5 Animal styles of fighting. These movements were developed by monks carefully observing and imitating the moves of the Tiger, Crane, Snake, Leopard and the mythical Dragon. From the Tiger we learn tenacity and acquire power. From the Crane we learn to evade and strike vital points. From the Dragon we get wisdom. From the Snake we learn patience and flexibility. From the Leopard we attain speed and power.

You can classify Kung Fu styles into four major categories: Southern, Northern, and External (hard) and Internal (soft). Southern Shaolin is a southern external style. A southern school is known for low stances, kicks below the waist and fast and powerful overwhelming hands. It is an external style which emphases mostly on power. The Chinese have a saying “Southern Fist/Northern Kicks” which means that in the south they use their hands more and in the northern part of China they use their kicks. Much of this has to do with the terrain and their size and built of the people in the two geographic. In Southern China the people tend to be shorter and stockier. In Northern China they tend to be taller and more slender. Due to the Northern terrain, mountains and open land they walk and ride horses. They favor high kicks and acrobatic movements; where as Southern China’s terrain is agricultural wet land which produces rice and waterways which people live near. Due to the southern life style and terrain they make use of their arms more than their legs. Fighting in wet land or in a boat made it difficult to make large movements and kick high. The low Southern horse stance, for training balance and stability, was developed by the southern kung fu warrior.

Today Southern Shaolin schools teach numerous traditional Chinese weapons of war. Yet, in the Shaolin Temple no blades were allowed. Only non-bladed weapons were allowed through the gates of the temple. Monks were known for their great skills with their walking sticks, or as we call them today the staff. Many define Kung Fu as a pretty, soft, circular, acrobatic, jumping, high kicking art that looks good in tournaments and in movies. The Chinese call this “flowery kung fu” which means that it’s pretty yet it has no defensive value in the streets. A true Southern Shaolin school will teach you an art that was used for war. You will learn to use every move in a form to defend yourself. A Southern Shaolin fighter will attack his opponent violently with tiger claws and crane beaks to the eyes, elbows, tearing grabs, knees, kicks to the knees and groin, Chin Na (joint locks), sweeps, throws, take downs and ground fighting. Southern Shaolin Kung Fu if handed down and taught traditionally, is not a sport but a reality based street self defense. In the end the only trophy that those fighting monks of Shaolin could win in ancient China was their life

The disciplined and dedicated practice of karate can allow a person to achieve amazing feats of human strength, conditioning and skill, and this is why all the old karate masters of Okinawa, Japan and Korea were absolutely incredible.

Karate is a martial art developed by the Okinawan peasant farmers, they learned the basic martial art movements from the Chinese, and then the Okinawan’s combined what they had learned, and combined it with their own cultural fighting art called “Te”. (Okinawa Te!)

The Okinawan’s did not call this art “Kudo Te” (Chinese hand), but they adhered to the new name of ‘Kara te’ (empty hand), which is what the Japanese had referred to it as, once they had learned the art from the Okinawans.

The great thing for modern practitioners of Karate, is that the Japanese had a very good influence on Okinawa, because of the way they infused some of their own ways into the native martial art by incorporating the use of the Japanese Judo uniform and the belt ranking system.

While Okinawan Karate is still primarily a striking art, and it was Japan’s Samurai methods of jujutsu, that have become a part of Karate’s standard training curriculum now.

A Karate block can also be a stike, lock or take down throw!

A good Karate practitioner, who has trained for at least 3-5 years, can develop a very good arsenal of skills for attacking and defending, and these skills can and will assist that same person in a self defence situation on the street.

Karate is a fighting art that was developed as an empty hand martial art system to help the individual to condition himself or herself so as to survive an attackfrom an armed or unarmed assailant out on the street.

Karate has spread from Okinawa to Japan, Korea, Philippines and to many other parts of Asia, and it has now widely spread to the Western world also.

The art has been around for a very long time, so it must be a very effective art for the self defence of an individual.

When people hear the term "martial art" they generally think of Karate. One of the most popular martial arts, Karate had its roots in China, developed in Okinawa, and was later brought to Japan by Gichin Funakoshi. Karate originated in Okinawa in the 1600s. It was developed from imported Chinese martial arts skills and refined as an advanced means of self-defense because weapons were outlawed on the island. It was originally called Te, meaning "hand." Later, masters adopted the name Karate, meaning "empty hand" or "Chinese hand" (depending upon which characters are used to write the word).

The word Karate is formed by two characters, the first one kara (empty) and the other te (hand). Kara may be explained several ways. The first way is that through the practice of karate, self-defense techniques are learned, where no weapons are used, other than hands, feet, or other parts of the body. A second way, as explained by Master Funakoshi, "Just as it is the clear mirror that reflects without distortion, or the quiet valley that echoes a sound, so must one who would study Karate-do purge himself of selfish and evil thoughts, for only with a clear mind and conscience can he [she] understand that which he [she] receives. This is another meaning of the element kara in Karate-do." Another meaning given by Funakoshi is that of always striving to be inwardly humble and outwardly gentle. Finally, Funakoshi also talks about the elemental form of the universe, which is emptiness (kara, ku), "and thus, emptiness is form itself. The kara of Karate-do has this meaning." It is clear that Karate is much more than mere self-defense techniques.

Toward the end of the 19th century, Gichin Funakoshi trained with various karate masters, and then devised his own system, which he named Shotokan. He spread the style to the Japanese mainland and eventually to the West. Master Funakoshi, inspired by traditional martial arts from the main Japanese islands (such as Kyudo, Kendo, and Judo) modified Karate, which until that moment could have been called Karate-jutsu (a fighting art), and emphasized its philosophical aspects combining Karate techniques with traditional Budo (the martial way). The word Budo is formed by two Chinese characters. Bu is formed by two symbols, a symbol that means to stop is drawn inside another symbol of two weapons, two crossed halberds. Thus, bu means to stop conflict. As stated before, do means a way or a life philosophy. In Master Funakoshi's own words: "Since Karate is a Budo, this meaning should be deeply considered, and the fists should not be used heedlessly".

Today it is common to find both "traditional" and "competitive" styles of karate. Traditional styles being the formal Okinawan styles, and competitive styles being those involved mostly in tournament competition. Karate is based upon powerful linear kicks and punches. It is considered a "hard" martial art since its blocks and attacks are direct and forceful. Many different styles fall under the karate banner. All include hard­style kicks, punches, and blocks, but some emphasize linear movements, while others emphasize circular movements. In virtually every style, kata (patterns) practice and kumite (sparring) play an important role in training.

American Freestyle Karate. American freestyle (named by Dan Anderson) is not really a style, it more of method of non-Oriental training. It stresses training to capitalize on your own specific skills and capabilities rather than training to force yourself to conform to some preconceived idea of what a technique should be.

American Kempo. American Kempo (or Kenpo) (American Fist Law) is an eclectic art developed by Hawaiian Ed Parker. The art combines the Kara-Ho Kempo Karate that Parker learned from William Chow with influences from Chinese, Japanese Kosho Ryu Kenpo, Hawaiian, and Western martial art sources. Parker added many labels to concepts from these arts that originally has no labels. It blends circular motions and evasive movements with linear kicks and punches. It is oriented toward "street" self-defense. The system allows "artistic interpretation" and many American offshoots have evolved from it.

Note: In the Japanese language, the consonants "n" and "m" have the same symbol, thus the English spelling can be rendered either "Kempo" or "Kenpo". There are several arts in this family, but the spelling is not significant in distinguishing between them.

Cha Yon Ryu. Cha Yon Ryu (Natural Way) is an eclectic, fairly new martial art founded in 1968 by Kim Soo of Houston, Texas. Taekwondo and Shotokan Karate contributes kicking techniques, strong stances and direct, linear strikes and blocks. Okinawa-te movements add techniques with some angularity, and Quanfa Gongfu contributes fluid, circular movements. Hapkido adds defenses against chokes, grabs and armed attacks, as well as various throwing and falling techniques. Students strive to fulfill The Dojang Hun (Training Hall Oath): Seek perfection of character, Live the way of truth, Endeavor, Be faithful, Respect your seniors, and Refrain from violent behavior.

Full-Contact Karate. Full-contact karate was founded in the early 1970's by Mike Anderson and Jhoon Rhee. Similar to boxing, the goal is to knockout the opponent or to win on a decision by judges. Unlike boxing, kicks are permitted and a minimum number of kicks must be delivered each round.

Goju-Ryu. Goju-Ryu was founded in the 1930's by Miyagi Chojun from Okinawan Karate and Chinese Kempo techniques. It is combination of hard "go" and soft "ju" techniques that work together similar to yin and yang. Linear motion is combined with circular movements. Patterns are practiced slowly with emphasis on breathing.

Isshin-Ryu. Isshin-ryu was found in Okinawa in 1954 by Shimabuku Tatso by combining Shorin-ryu (90%) and Goju-ryu (10%) techniques. It uses low kicks, short stances, and awareness of surroundings to be useful for street fighting. It also teaches use of the kusarigama. Isshin-ryu emphasizes:

Kicks and punches that are thrown from natural stances eliminating wasted motions and giving you split-second advantages over opponents using some of the other styles.
Stresses proficiency with both hand and foot techniques, equally, making it a more versatile form of Karate because you have no weak points.

"Close in" techniques useful in "street fighting" making it a more realistic style of Karate.
Snap punches and snap kicks, where the limb does not fully extend and is immediately retracted (preventing excessive strain on the knees and elbows) permitting you to move in and out quickly without committing yourself to a disadvantageous position should you miss or misjudge.

Blocks with muscular portion of the forearm rather than the bone.
Fist formed with the thumb on top rather than wrapped over the first two fingers (this strengthens the wrist to help prevent buckling at the wrist on impact).
The vertical punch, which increases speed and can be focused at any given point.

Karate Connection. An American Kenpo based school created by Chuck Sullivan and Vic LeRoux. It includes techniques from many different styles; a "use what works" mentality.

Kempo. Kempo "way of the fist" (also known as Quan Fa, Chuan Fa, Jiaodishu, Kaiki, and Kenyu) is a Chinese martial art. Its techniques are similar to Karate with a focus on Buddhist philosophy. Other arts, such as archery and swordsmanship are also taught in Kempo schools.

Kenpo (Kosho Ryu). A Japanese based, philosophical art much like Jeet Kune Do but with a Zen influence, meaning lots of mind science material and healing arts. It is not a style of compiled patterns or specific techniques; it is a study of all motion and therefore cannot be stylized to look like a specific teacher or animal movement.

Kenpo is the family style of Grandmaster James Mitose. It was first taught to non-family members in Hawaii during the 1940's and 1950's. Mitose called his family style "Kyu-sho-ryu" Kenpo (old pine tree school fist law). According to Mitose, during the invasion of Genghis Khan, the Head Monk of the Shaolin Temple fled China and found refuge with the Mitose family. In appreciation for the kindness of the Mitose's, he taught them Shaolin Chuan Fa (Shorinji Kempo in Japanese). Then, in 1235, a Shinto priest whom James Mitose calls his first ancestor became enlightened to what we call Kempo. According to Mitose, this man was a martial arts master and a Buddhist monk studying at Shaka In who found it difficult to be both. His religion taught him pacifism; his martial art taught him destruction. He pondered this dilemma under an old pine tree meaning Kosho in Japanese. He became enlightened and was from then on known as, Kosho Bosatsu, the Old Pine Tree Enlightened One. He discovered the relationship between man and nature and also the secret of the escaping arts. He founded the Kosho Shorei Temple of Peace, True Self Defense, and Kosho Shorei Yoga School.

One of James Mitose's students, William Chow, mixed it with elements of his father's Chinese style to produce his own style, called "Kara-ho" Kenpo Karate. Kenpo's techniques were influenced by those of various Chinese, Japanese, and Hawaiian martial arts. Kenpo training emphasizes a scientific approach to combat. Many patterns, rapid­fire hand techniques, and combinations are taught. Ed Parker popularized the style on the mainland by organizing the style and orienting it toward practical street self-defense. Although it is often categorized as an American martial art, the style's name is written with the same Chinese characters as Chuan-fa, a generic Chinese term for martial arts. The art received a popularity boost after Jeff Speakman, a student of Parker's, showcased it in the movie, "Perfect Weapon."

Kempo (Ryukyu). Ryukyu Kempo (which roughly translates into Okinawan kung-fu, or Chinese boxing science) is the original style of martial arts learned and taught by Gichin Funakoshi on the Okinawa, an island in the Ryukyu island chain. It stresses the existence of body points within your opponent that can be struck or grappled for more effective fighting. Funakoshi's first edition book "Ryukyu Kempo" shows him clearly grappling and touching an opponent. Later editions and current karate books only show a practioner with a retracted punch, where the original shows actively grappling an enemy. It is felt that Funakoshi was the last of the purists, wanting all to learn the art.

Okinawans, who have a culture and history of their own, became disenchanted with the Japanese, and were less inclined to teach them the "secret techniques" of self-defense. When American military soldiers occupied Japan after WWII, they became enamored of the martial-arts. It is theorized that the Japanese and Okinawans were reluctant to teach the secrets of their national art to the occupiers, and so taught a "watered down" version of karate-do usually reserved for children. Contemporary Kempo practioners practice "pressure point fighting" or Kyushu-jitsu and grappling, called Tuite. It is an exact art of striking small targets on the body, such as nerve centers, and grappling body points in manners similar to Jujitsu or Aikido.

There are a couple of physical differences in Kempo and many other styles. One is a three-quarter punch, rather than a full twist. Second is a fist whereby the thumb stops at the first finger, rather than the first two fingers. Third is the sword hand, which has the little finger placed as parallel as possible to the third finger and the thumb straight and on the inside rather than bent.

Kobo-Jutsu. Kobo-jutsu is a Okinawan style of Karate characterized by the large array of weapons it uses. The style makes extensive use of forms to perfect techniques.

Kyokushin-Kai. Kyokushin-Kai is a Japanese style of Karate found by Oyama Masutatsu in the 1950's. The style was influenced by Kempo, Gojuryu, and Zen. It is powerful art that emphasized breaking, breathing, multiple attacks in quick sucession, and kill techniques.

Shohei-Ryu (formally known as Uechi-Ryu). A traditional Okinawan, Zen based style founded by Kanbum Uechi . Although it has become one of the main Okinawan martial arts and absorbed many of the traditional Okinawan karate training methods and approaches, it is historically, and to some extent technically, quite separate.

The name Shohei-Ryu comes from two Chinese characters, "Sho" meaning "to shine brightly" and "Hei" meaning "fairness", "equality" and "peace". The name also refers to two Japanese eras, a past one, Showa, and the present one, Heisei. Ryu (pronounced "roo") is the Japanese word for "style" or "path".

Grandmaster Kanbun Uechi was born on May 5, 1877 in Isumi, a small village in northern Okinawa. In 1897, at the age of 20, he fled to Fuzhou, the capital city of Fujian province in China, to avoid being drafted into the Japanese army, which was occupying Okinawa at the time. For ten years, he studied the art of Pangai-noon, meaning half hard half soft, under master Shushiwa, a Buddist priest who had received his training in the Shoalin Temple in Southern China. Pangai-noon was derived from the interwoven movements of the tiger, crane and dragon and it concentrates on the use of the single-knuckle punch, spear-hand strike, pointed kick and circular block. Uechi opened his own school in Nanchon, a city in Fukien Province, where he taught for three years, having the distinction of being the only Okinawan ever accepted in China as a teacher. Disheartened after one of his students became involved in a dispute and killed another person, Uechi vowed never to teach again, and, in 1910, he closed his school and returned Okinawa where he married and, on June 26, 1911, his son Kanei was born. Uechi still refused to teach his art and only once during the ensuing years did he reluctantly demonstrate his kata.

Absorbing some Okinawan Goju-ryu over the decades, Shohei-Ryu still retains its original Chinese flavor, both in its technique and in the culture of the dojo. It is a "half-hard, half-soft" style very similar to such southern Chinese styles as Fukienese Crane (as still practiced in the Chinese communities of Malaysia), Taiwanese Golden Eagle, and even Wing Chun. Conditioning the body for both attack and defense is a common characteristic of both Okinawan karate and southern Shaolin "street" styles, and as such is an important part of Shohei-Ryu training. There is a strong internal component to the practice, including focused breathing and tensioning exercises similar to Chinese Qigong. Shohei-Ryu, following its Chinese Crane heritage, emphasizes circular blocks, low snap kicks, infighting (coordinating footwork with grabs, locks, throws, and sweeps), and short, rapid hand traps and attacks (not unlike Wing Chun). The style incorporates the characteristics of the Wushu animals. It uses circular motions and uses the Phoenix Eye single knuckle punch. Unlike most Karate styles, it uses grappling techniques.

Shorin Ryu. Shorin Ryu is an Okinawan soft style. Known for its light, quick, and agile techniques that are suitable for a person of light body structure. Because of its strict spiritual aspects it is considered a religious sect.

Shorinji Kempo. Shorinji Kempo is a Japanese Karate style that is deeply rooted in Zen meditation. It was created by So Doshin who says it is based on traditional Shaolin teachings. In the 1970's, the Japanese courts forced So Doshin to the change the name of his school to Nippon Shorinji Kempo. It stresses being calm in action. Students first learn its deep spirituality, then learn the fighting techniques. Because of its combination of Buddhism, philosophy, and martial arts, many consider Shorinji Kempo a religious sect.

Shorei Ryu. Shorei Ryu is an Okinawan hard style. Know for its heavy, powerful techniques and body toughening training. It is known for the its numerous amount of stances. It is more suitable for a person of heavy body structure. It strives to emulate the actions of the 5 traditional animals and teaches all the traditional Okinawan weapons, such as the bo, tonfa, and sai. Some characteristics of shorei-ryu:

• Stances exceptionally low in kata form.
• Seiken thrust: slightly downward and in center of body. The rear leg moves slightly forward at the completion of the punch. The moving of the rear leg is automatic and is caused by the power generated by the force of the punch and the forward movement of the hips.
• Fist: index finger under curled thumb.
• Hips: rotate with a definite forward movement.
• Blocks: all start spiraling at wrists and spiral until completion of block.
• Head snap when turning.
• Thousand hand, five and six-count rice exercises, and sun fist.
• High rising block - executed from thigh up.
• Teeth clenched.
• Wide-eyed stare.
• Eight faces: the art of looking or expression (hyojo do). (Confidence, Friendly, Solemn, Unconcerned, Contempt, Shock, Fear, Anger)
• All kicks, blocks and strikes are 90% circular (point and circles).
• Kicks: for every forward one there is a reverse one.
• Te-katana and te-uke covers are very obvious in all Shuri-ryu techniques and katas.
• Body: always relaxed until exact moment of completing technique.

Shotokai Karate-do. Shotokai Karate-do is a non-competitive style of Karate derived from Gichin Funakoshi's Karate by Masters Yoshitaka (Gigo) Funakoshi and Shigeru Egami. The word Shotokai is composed of three kanji characters in Japanese. The Sho character is taken from the word matsu which means pine tree. To is the character for waves. Pine Waves is the English translation that tries to express what the original Japanese kanji represent, the sound that is produced by the pine needles when the wind blows through them, a sort of wave sound. Gichin Funakoshi, used Shoto as a pseudonym when he signed his poetry works. The word kai means organization. Thus, Shotokai means the Organization of Shoto, or the Organization of Master Gichin Funakoshi. Kan, means building or house, thus Shotokan is the house or building of Shoto.

Shotokai does not consider Karate a sport so it avoids all type of competitive tournaments. Rather, it stresses Karate as a Budo art that is concerned with personal development through the study and practice of Karate as a Do, a Way of Life, and the development of the internal energy, Ki. Shotokai movements are full of vitality and energy, but they use the principles of harmony and relaxation and avoid the use of brute force. Each Shotokai student in a group, has his or her own way of attaining mind-ki-body unity, in a way that permits all students to learn from each other. In a training atmosphere void of distinctions, communication grows and mutual respect arises unhindered.

Shotokan. Shotokan is the "authorized" Japanese style of Karate. It is an Okinawan style founded by Gichin Funakoshi. Shoto was the pen name of Funakoshi. He combined Shorin and Shorei to a style that would accommodate all body structures. According to Funakoshi "The art of karate strives neither for victory, nor for defeat, but for the perfection of the character of its practitioners." Shotokan is a "hard" linear style that is a true "empty hand" art", it does not include weapons training. Although originally known for its a lethal attacks, dynamic entry techniques, and its theory of "one strike, one kill," similar to other martial arts, it has evolved into a sport. Shotokan training emphasizes mastering a few techniques rather than learning many techniquees.

Shotokai and Shotokan are two names for the same thing. Shotokai is the name of the Organization established in 1935 to raise funds for the building of Funakoshi's Main Training Hall. Gichin Funakoshi held only two positions during his lifetime: one as Head Instructor of the Shotokan Dojo and the other as director of the Shotokai school.

Shotokan is the name of the building finished in 1936 that was the result of the work done by this organization. In time, people who trained in Karate were not only known for practicing Karate but also began to be related to different "styles", even though Gichin Funakoshi was against this. His students began to be known as of the "Shotokan", the place where they trained, or "Shotokan-Ryu", the Shotokan Style.

After Master Gichin Funakoshi's death in 1957, Shotokai was heir of his symbol (O-sensei's Tiger), the Shotokan and Shotokai names, and more importantly all his documents and writings, which is why Shotokai is in charge of editing and publishing his works. Shotokai's headquarters in Japan is still the Shotokan Dojo, a though it has been reconstructed since the original one burned during a World War II bombing. The Shotokan name has been misused by many groups with no respect for Master Funakoshi or his families wishes. For this reason, many uninformed people relate Gichin Funakoshi with sport karate, something he was strongly against.

Wado-Ryu. Wado-ryu "school of the way of harmony" was founded in the 1920's by Otsuka Hidenori, one of Funakoshi Gichin's students. Ohtsuka studied Jujutsu for many years before becoming a student of Gichin Funakoshi, considered by some to be Funakoshi's most brilliant student. Ohtsuka combined the movements of Jujutsu with the striking techniques of Okinawan Karate, with a strong focus on evasion through body shifting. Style has higher stances and shorter punches than Shotokan. Training stresses spiritual discipline. After the death of Ohtsuka in the early 1980s, the style split into two factions: Wado Kai, headed by Ohtsuka's senior students; and Wado Ryu, headed by Ohtsuka's son, Jiro. Both factions continue to preserve most of the basic elements of the style.

What is it like to test for a belt in Japan as a Westerner? Or to live with a Master? This article will try to provide brief insights by reflecting on my time Japan between 1995 and 2002. I will also reflect on short-term visits to Japan made by my Californian students to test for a Dan ranks. I was fortunate enough to have spent part of my time in and around Japan as an “uchi-deshi” – a live in student of a master. On arriving in Japan my comparisons of East vs. West martial arts came from a somewhat experienced viewpoint since I had already been training in Japanese martial arts for more than 10 years, competed at an international level, and had my own dojo operating in California.

Karate in Japan takes all sorts of forms: some are sport oriented, and some are very traditional, some are very hard, while others very soft. By comparison to the West (with the USA and Australia being 2 other places I have had significant karate exposure) karate intensity is often similar, however, the style in which it is taught is more varied both from a traditional/philosophical viewpoint and technical approach. In particular I have found that the emphasis on sport Karate in Australia is very high, leaving the art, and the practical application to the side (I have recently opened two dojo(s) in Australia). I don’t feel sport karate is bad, but to simply state that it is a different path compared to the art of karate. Given Australia’s recent performance of fourth in the Olympics, even given a very small population, one could expect such a sporting oriented nation to predominantly follow a sporting oriented approach to karate (not to say all Australian Karate is sport as there are obviously also a proportion of traditional dojo). From my involvement in the US karate scene I feel that, compared to Australia, it has a larger proportion of dojo(s) continuing to pursue traditional Japanese karate. As an example of this measure I often look at the content of Ippon Kumite, Kata Bunkai and Ippon Shobu (a single point sparring match) practiced in a dojo. In Japan these things are not only seen as a regular part of classes, but appear as the primary content (especially Ippon Kumite). Approaches such as Ippon Kumite and Ippon Shobu for matches (instead of six or eight point matches) reinforce the precept behind Japanese Karate of “one hit one kill” (Ikken Isatsu in Japanese). The underlying theme of these one point bouts is the concept that in the kumite bout, like in life, you only get one chance. I once asked the Master I lived with in Japan (Uetake Sensei) with why he considered Kobudo (weaponry) an important extension of his Karate as it dilutes the time one can spend mastering the Way of empty handed fighting. He replied that it reinforced his mindset that one hit is one kill. So if traveling to Japan expect Ippon Kumite to often be large part of each night’s training with the key point being mind state re-enforcement.

Fudoshin (immovable mind), is a “Zen” principle related to the above point of absolute technique, and I would like to give an example of another way in which it is reinforced in Japanese training. Most of my training was in Japan was at a honbu dojo where, on a given night, there would be two 8th dans, three 7th dans, and just a few other instructors in rank range of sandan through godan. In these sessions there was a surprising element to the content we practiced given the ranks in the room – it was almost entirely kihon and ippon kumite, with kihon being 50% of training. After a few years of banging out full power basic technique with a group of masters you realize that the perfection of physical technique is not the only reason for the high repetition: the point was the continual reinforcement of the mindset that each technique, if a block, will break their opponents arm, and if a strike will kill the opponent – not the physical strength of the technique. One often hears this in Western dojo(s) but it is not implemented to same degree, nor is “Fudoshin” the true focus of high repetition based training (it is quite likely that most Western students would leave through “boredom” because of a lack physical technique variety in training). The very fact that when these most advanced ranks (karate-ka who have training for 50 years) got together and chose to work single count basic drills rather than advanced forms, or technique, says something very important.

In this article we can only touch on some aspects of Japan vs. West training. An issue to raise is that of attitude and approach in the dojo. When a Westerner walks into a karate Dojo for the first time their mindset is not quite the same as an Asian student who reads the Kanji (Chinese characters) on the door and understands that Do & Jo combine to mean – a place of studying the Way. In the West students come to understand this over time. I feel that the Japanese culture is much better at mimicking a taught action than Westerners, and therefore, there is less tendency in Japan for students to look, question, re-interpret, and then perform their version of what they saw. The above issues tend to combine to make the standard of Kyu ranks in the Japanese dojo(s) better. However, I do not notice such a large difference in ability of black belt ranks when comparing Japan to the West. It seems that once the effect of time has allowed them perfect technique through repetition, and gain an understanding they are studying an art of Do, the same endpoint in ability is reached regardless of cultural differences. Interestingly, I find European students faster learners than my Australian or USA students. One of my University clubs is at a school with a very strong international exchange program, and therefore, has a make-up of approximately 1/3 of each European, Australian and American students. The Europeans appear to learn at a faster rate not so much due to a “mimicry” mindset (like the Japanese) but rather an openness to new ways.

“Zen” in the martial arts is not even mentioned in some karate organizations in the West and in others it is. In Japan I found it is often not mentioned, or talked about, but innately exists (as was eluded to in a couple of examples above). I did have many insightful discussions on “Zen” over post training drinks in Japan – the place where both in business and the martial arts world, the heart of matters are really opened up. More on Zen, Japan and Karate is outlined in our video series.

It is not uncommon for black belts to sometimes travel to Japan and test for a higher Dan rank. However, testing for black belt is a stressful event even if you do it in your home town. Imagine if you elected to do all your training in the West and then travel to Japan for the big day with no real knowledge of the sensei testing you, the students you will fight, or the Japanese culture. That is exactly what a number of my brown belts have done over the years. It was a real testament to their courage to join me in Japan and 2 days later, still with jetlag, perform their Shodan Shinsa (black belt test). All were nervous, however, all rose to the occasion and learning occurred from both the involved Japanese and Western students. In 1997 my first student to perform this task (Dave Cohrs) obviously had the largest factor of the “unknown” as to our knowledge, he was the first Westerner to try it. As is usually the case Dan rank tests are more about Kata and Kihon than fighting. Within Japan, especially in the case of Westerners, these are the things under the most scrutiny.

The experiences briefly outlined in this article are now covered in a documentary series on living, and training in Japan, recently published on the web in the form of downloadable videos (www.AppliedZen.com).

About the author: Dr. Jason Armstrong, 5th Dan
Sensei Jason Armstrong has a 5th degree black and has been training for more than 20 years. His training began in Australia, and then moved to the USA in 1991. In 1995 he began regular travel to Japan and spent time living in Japan for karate. While in Japan he worked in the corporate environment and ultimately became the CEO of a company in Tokyo. He holds a Ph.D. in human physiology. Today he has founded Applied Zen which operates in the USA, and, Australia passing on Japanese karate through dojos, and through a video e-learning site (www.AppliedZen.com). Additionally, his organization (www.AppliedZen.com) provides corporate seminars on the integration of the “Art of War”, and Zen into corporate team development, and business.

Pictures:

1. Sotokawa Sensei and Jason Armstrong in 1997. Sotokawa sensei is a 8th Dan in Shito-Ryu and received his 3rd Dan accreditation under Mabuni sensei the founder of Shito-ryu.

2. Sensei Jason standing near Himeji Castle at Sakura time (Cheery Blosson season). Himeji Castle is Japan’s largest castle and is rumored to be the place where Musashi carried out his academic studies for samurai training.

3. Sensei Seto (Shotokan) and Jason Armstrong in 2002 in Tokyo. During Jason’s one year stay in Tokyo Seto sensei’s dojo was one of the clubs he visited.

What is it like to test for a belt in Japan as a Westerner? Or to live with a Master? This article will try to provide brief insights by reflecting on my time Japan between 1995 and 2002. I will also reflect on short-term visits to Japan made by my Californian students to test for a Dan ranks. I was fortunate enough to have spent part of my time in and around Japan as an “uchi-deshi” – a live in student of a master. On arriving in Japan my comparisons of East vs. West martial arts came from a somewhat experienced viewpoint since I had already been training in Japanese martial arts for more than 10 years, competed at an international level, and had my own dojo operating in California.

Karate in Japan takes all sorts of forms: some are sport oriented, and some are very traditional, some are very hard, while others very soft. By comparison to the West (with the USA and Australia being 2 other places I have had significant karate exposure) karate intensity is often similar, however, the style in which it is taught is more varied both from a traditional/philosophical viewpoint and technical approach. In particular I have found that the emphasis on sport Karate in Australia is very high, leaving the art, and the practical application to the side (I have recently opened two dojo(s) in Australia). I don’t feel sport karate is bad, but to simply state that it is a different path compared to the art of karate. Given Australia’s recent performance of fourth in the Olympics, even given a very small population, one could expect such a sporting oriented nation to predominantly follow a sporting oriented approach to karate (not to say all Australian Karate is sport as there are obviously also a proportion of traditional dojo). From my involvement in the US karate scene I feel that, compared to Australia, it has a larger proportion of dojo(s) continuing to pursue traditional Japanese karate. As an example of this measure I often look at the content of Ippon Kumite, Kata Bunkai and Ippon Shobu (a single point sparring match) practiced in a dojo. In Japan these things are not only seen as a regular part of classes, but appear as the primary content (especially Ippon Kumite). Approaches such as Ippon Kumite and Ippon Shobu for matches (instead of six or eight point matches) reinforce the precept behind Japanese Karate of “one hit one kill” (Ikken Isatsu in Japanese). The underlying theme of these one point bouts is the concept that in the kumite bout, like in life, you only get one chance. I once asked the Master I lived with in Japan (Uetake Sensei) with why he considered Kobudo (weaponry) an important extension of his Karate as it dilutes the time one can spend mastering the Way of empty handed fighting. He replied that it reinforced his mindset that one hit is one kill. So if traveling to Japan expect Ippon Kumite to often be large part of each night’s training with the key point being mind state re-enforcement.

Fudoshin (immovable mind), is a “Zen” principle related to the above point of absolute technique, and I would like to give an example of another way in which it is reinforced in Japanese training. Most of my training was in Japan was at a honbu dojo where, on a given night, there would be two 8th dans, three 7th dans, and just a few other instructors in rank range of sandan through godan. In these sessions there was a surprising element to the content we practiced given the ranks in the room – it was almost entirely kihon and ippon kumite, with kihon being 50% of training. After a few years of banging out full power basic technique with a group of masters you realize that the perfection of physical technique is not the only reason for the high repetition: the point was the continual reinforcement of the mindset that each technique, if a block, will break their opponents arm, and if a strike will kill the opponent – not the physical strength of the technique. One often hears this in Western dojo(s) but it is not implemented to same degree, nor is “Fudoshin” the true focus of high repetition based training (it is quite likely that most Western students would leave through “boredom” because of a lack physical technique variety in training). The very fact that when these most advanced ranks (karate-ka who have training for 50 years) got together and chose to work single count basic drills rather than advanced forms, or technique, says something very important.

In this article we can only touch on some aspects of Japan vs. West training. An issue to raise is that of attitude and approach in the dojo. When a Westerner walks into a karate Dojo for the first time their mindset is not quite the same as an Asian student who reads the Kanji (Chinese characters) on the door and understands that Do & Jo combine to mean – a place of studying the Way. In the West students come to understand this over time. I feel that the Japanese culture is much better at mimicking a taught action than Westerners, and therefore, there is less tendency in Japan for students to look, question, re-interpret, and then perform their version of what they saw. The above issues tend to combine to make the standard of Kyu ranks in the Japanese dojo(s) better. However, I do not notice such a large difference in ability of black belt ranks when comparing Japan to the West. It seems that once the effect of time has allowed them perfect technique through repetition, and gain an understanding they are studying an art of Do, the same endpoint in ability is reached regardless of cultural differences. Interestingly, I find European students faster learners than my Australian or USA students. One of my University clubs is at a school with a very strong international exchange program, and therefore, has a make-up of approximately 1/3 of each European, Australian and American students. The Europeans appear to learn at a faster rate not so much due to a “mimicry” mindset (like the Japanese) but rather an openness to new ways.

“Zen” in the martial arts is not even mentioned in some karate organizations in the West and in others it is. In Japan I found it is often not mentioned, or talked about, but innately exists (as was eluded to in a couple of examples above). I did have many insightful discussions on “Zen” over post training drinks in Japan – the place where both in business and the martial arts world, the heart of matters are really opened up. More on Zen, Japan and Karate is outlined in our video series.

It is not uncommon for black belts to sometimes travel to Japan and test for a higher Dan rank. However, testing for black belt is a stressful event even if you do it in your home town. Imagine if you elected to do all your training in the West and then travel to Japan for the big day with no real knowledge of the sensei testing you, the students you will fight, or the Japanese culture. That is exactly what a number of my brown belts have done over the years. It was a real testament to their courage to join me in Japan and 2 days later, still with jetlag, perform their Shodan Shinsa (black belt test). All were nervous, however, all rose to the occasion and learning occurred from both the involved Japanese and Western students. In 1997 my first student to perform this task (Dave Cohrs) obviously had the largest factor of the “unknown” as to our knowledge, he was the first Westerner to try it. As is usually the case Dan rank tests are more about Kata and Kihon than fighting. Within Japan, especially in the case of Westerners, these are the things under the most scrutiny.

The experiences briefly outlined in this article are now covered in a documentary series on living, and training in Japan, recently published on the web in the form of downloadable videos (www.AppliedZen.com).

About the author: Dr. Jason Armstrong, 5th Dan
Sensei Jason Armstrong has a 5th degree black and has been training for more than 20 years. His training began in Australia, and then moved to the USA in 1991. In 1995 he began regular travel to Japan and spent time living in Japan for karate. While in Japan he worked in the corporate environment and ultimately became the CEO of a company in Tokyo. He holds a Ph.D. in human physiology. Today he has founded Applied Zen which operates in the USA, and, Australia passing on Japanese karate through dojos, and through a video e-learning site (www.AppliedZen.com). Additionally, his organization (www.AppliedZen.com) provides corporate seminars on the integration of the “Art of War”, and Zen into corporate team development, and business.

Pictures:

1. Sotokawa Sensei and Jason Armstrong in 1997. Sotokawa sensei is a 8th Dan in Shito-Ryu and received his 3rd Dan accreditation under Mabuni sensei the founder of Shito-ryu.

2. Sensei Jason standing near Himeji Castle at Sakura time (Cheery Blosson season). Himeji Castle is Japan’s largest castle and is rumored to be the place where Musashi carried out his academic studies for samurai training.

3. Sensei Seto (Shotokan) and Jason Armstrong in 2002 in Tokyo. During Jason’s one year stay in Tokyo Seto sensei’s dojo was one of the clubs he visited.