Saturday, August 07, 2010
Tuesday, June 15, 2010
Monday, June 07, 2010
Sacred Hearts Catholic “Church Hall” Downside Bridge Road Cobham, Surrey KT11 3, UK
TIMES: Wednesday 9th & Thursday 10th June 19.00 – 22.00 Please be there for a prompt Start. Car Parking is available onsite.
Martial arts style, rank, experience, or affiliation need not be a barrier to enjoying this seminar.
Patrick McCarthy 8th dan Hanshi, historian, author, founder of the International Ryukyu Karate Research Society, and Koryu Uchinadi martial art.
You can see more details at www.koryu-uchinadi.com
Teaching practical applications to Karate kata linked together to make 2-person drills responsive in a gradually resistant learning environment.
BOTH COURSES WILL BE DIFFERENT IN CONTENT WITH A DEFINITIVE Q & A SESSION
COST: £25 FOR EACH 3HR SESSION OR £40 FOR BOTH DAYS
ALL CYBERBUDO MEMBERS AND/OR AFFILIATES £15 FOR EACH 3 HR SESSION OR £25 FOR BOTH DAYS
Any quires Call Alan 07957421371 or Terry 07708888880
CONDITIONS: CASH ON THE DAY (NO CARDS ACCEPTED) AND WE WOULD ASK YOU TO PRE-BOOK BY NOTIFYING US BY E-MAIL
Friday, May 28, 2010
Monday, May 17, 2010
Wednesday, April 14, 2010
Friday, March 26, 2010
Hanshi TINO CEBERANO
9th dan GOJU KARATE-DO
Master of PHILIPPINE ARNIS
Hanshi Tino Ceberano 9th Dan Karate is also warmly known as the father of martial arts in Australia. His years of experience to the martial arts have provided him the knowledge that has written him into the martial arts history books. His expertise and tutelage is now available to you via the Kenshusei program. It is guaranteed that you will be in awe of the many stories that Hanshi Ceberano will share with you. His expertise as a trainer and lecturer (and nationally recognised senior trainer and assessor for the martial arts training package) will make your learning experience enjoyable, motivating, stimulating and obove all be credited towards your nationally recognised qualification. The following brief biography of Hanshi's life will give you a better understanding of the man himself.
Tino Ceberano was born and raised in Hawaii on the island of Kauai. Of Phillipino-Spanish decent, his father was a Phillipino migrant who came to Hawaii as a professional boxer who also acquired the skills of Phillipino stick fighting when he settled in Hawaii.
In Hawaii, it wasn't uncommon for everyone to be involved in fights as a youngster and most boys had some basic martial arts experience. In the pre-war days, boxing was a popular pass-time on the island with martial arts such as Jujitsu, Kung Fu, Karate, knife and stick fighting also learnt at a young age.
Martial arts simply existed in Hawaii and the predominant nationalities of the time; Portugese, Chinese, Phillipino, Hawaiin, Puerto Rican, and Japanese, all became closer in the way that they were constantly exchanging ideas and learning pieces from different styles. There were no set martial arts organisations in Hawaii. People basically learnt the arts by watching someone fight or by getting into a fight themselves. People eventually learnt that each art was associated with a particular group and the multicultural existence in Hawaii highlighted what became the forerunner of Western Martial Arts even before Karate was introduced to mainland America.
A young Tino and his father trained together in Kempo, which was the word commonly used instead of Karate. The Chinese would refer to Shorin Kempo as what Shaolin Kempo was. The Okinawans referred to Okinawa-te instead of Karate.
Kempo was actually introduced to Tino by his neighbour, who was a returned soldier from the Korean campaign. He would gather up a group of kids ranging between twelve and seventeen years old and they would train after school and really get stuck into each other."
It wasn't until 1959, when as a 17 year old joining the Marines, that Tino learnt to value his martial arts. At this time he remembers a sweeping change in people's perception of the martial arts right across Hawaii.
Goju-Kai started in Hawaii in 1958. Kyokushin-kai was slightly before that and Shotokan was at about the same time. All before that there was Kempo and Okinawa-te but it wasn't so serious. Then all of a sudden something changed. They began to understand the values of the arts and became a lot more fine tuned about how they should be practised and the classes began to be organized.
Anton Navas was Tino's most revered teacher who really took him by the hand and showed him what the true meaning of the arts was all about from 1959 until 1966.
Joining the Marines changed Tino's life immensely. From living as an islander to being part of the armed forces elite and living much more a Western life-style was almost a cultural shock for him.
As part of the Fleet Marine Force Pacific, he was a specialist in the field of teaching armed and unarmed combat with a background of reconnaissance for which his job was to be on call to engage the enemy or secure information. The Force also served as the protection squad for the elite officers.
Tino also participated in the Fleet Marine Force Pacific Drum and Bugle Team marching squad where he played the bugle. It was with the bugle team that Tino first came to Australia which he toured in 1962 both playing the bugle and exchanging ideas and practice on combative warfare which was part of a highly confidential military operation at the time. The team eventually finished up in Okinawa for four months and it was on his first trip to Tokyo that Tino met up with the legendary founder of Goju-Kai, Gogen Yamaguchi, he studied under him and became a top student.
In 1966, Tino arrived in Australia with his family and instantly initiated moves to introduce the relatively unknown world of Karate to the continent.
Tino's martial arts style was well received here. Judo at the time was the mainstay martial art and it was everywhere and was everyone's ideal of a fighting technology. At the time, Karate was still nonexistent. Tino performed a demonstration at a local Judo club which was so well received he was asked to regularly perform demonstrations at all of the Judo clubs.
From here the popularity of Karate just mushroomed. He would have as many as 60-100 people in a class.
The style he taught was very hard. His reasoning for this was that at the time, people wouldn't really take on the likes of the ritualistic type of regimented training involving a lot of repetitions. So he gave them exercise as well which either made them or broke them and that was to sort out the mentally and physically strong from the weak. This hard style proved something as well. It made the name associated with the school a strong one and the school gained a high standing and became a strong foundation for what martial arts was going to be like in the future.
Thursday, March 18, 2010
• First in Karatejutsu there is the Science and Physical Principles inherent to life that have to be accounted for at all extremes.
• Second there has to be an account of individual athleticism, ability and comprehension that when assimilated with the Science gives Karatejutsu an appreciation justified and calculated by unique aesthetic impression and artistic appliance by improvisation & interpretation.
• Thirdly there is a concept of self defence that has to be applied that is infinitely diverse by the nature or purpose of the effort and effect, ultimately to disrupt, damage or destroy in preservation of one’s self or family.
My Interpretations of Watashi no Karatejutsu Motobu Choki (1870 – 1944) Karatejutsu has a primary function of self defence to incapacitate an attacker with one action (strike, blow, grab or kick).
If Kata was to be understood correctly, each section of technique would need to be decisive in order to truly represent the maxim of one blow (action) one kill (disable, maim, kill). The form, the sequence, the embellished breath & movements would all become superfluous to an action of effort if an effect of disable, maim, kill was the intention.
The plethora of postures we see in Kata are no more that transitional snapshots, isolated in the mind as significant to a pose or static intersection where flow has been lost by the practitioner.
A dynamic “Hachimonji Datchi” giving equilibrium to balance or stability with mobility in a moving stillness, is probably the ideal for manoeuvrability. To practice being static or be motionless is to be dead or very close to death.
Monday, March 15, 2010
Friday, March 12, 2010
1. I acknowledge that I have read the definitions below. 2. I hereby acknowledge that my entry and/or participation in the seminar carries with it significant risk of personal injury. 3. Therefore, I for myself and the Releasors hereby relinquish, release and/or waive any action against the Releasees for any personal injury sustained by me arising out of and/or in the course of the seminar whether as a result of any disregard and/or technical breach of the rules of the seminar or otherwise. 4. In addition, in the event of any action being commenced, the Releasors and myself hereby indemnify the Releasees against any cost and damages arising from or connected therewith.
a) “Personal Injury” has its ordinary English meaning and includes any injury for which a person might be awarded General Damages and/or Special Damages at Common Law. b) “The Releasors” means by family, dependants, heirs, executors and/or assigns any person or persons claiming through them. c) “Releasees” means any corporation, association or other body and/or person or persons jointly and/or severally and whether servants or agents of any of the aforementioned or otherwise where any such corporation, other body or individual is associated with the promotion or conduct of the seminar and includes Karate Students, competitors , instructors, and observers or members of the audience. d) “Any Action” means any claim, right and/or cause of action for damages at Common Law or pursuant to any statute.
Thursday, March 11, 2010
Tuesday, March 09, 2010
Monday, February 22, 2010
Friday, February 19, 2010
I'm sure some people will cringe at some of the missed opportunities or the path I've chosen. Another video clip taken again would probably be different if not slightly the same. I could change the strikes to grips or combinations of both. The targets can break balance or bone depending how and what I apply, am I defending or attacking? so many variables.
Click to title link to see the latest clip. Damn Blogger wont upload video...
Saturday, February 13, 2010
Thursday, February 11, 2010
Clips 6 7 8 or all the clips available.
It's all in the mind! Once you can become comfortable moving the hands and legs in close quarter, the permutations and options are infinite. Yes there are only so many ways to move the body but it's like a 4 or 5 digit code, it's the sequence you dictate. Check out the YouTube clips, not meant to teach or preach, they are there to share ideas.
Friday, February 05, 2010
We have stuck to hand drills this week because of the immense diversity of probability involved. Not the hum drum non contact sport stuff but nasty effective and efficient syncopation involving the complete hand elbow head arsenal at such close range. Once in range all hell lets loose, so fast and devistating with practice. Observe the YouTube clips and comment if you want.
Look at it this way: I have been working on those drills for 15 years. If a tennis player scores an ace, people think oooooh! If 2 players rally for 15-20 shots, people thing how good the both are. It takes years of practice and skill to do both. An ace is good but not always practical, to gain a point in a few moves is good too but to demonstrate a complete repertoire of play skills is a higher skill and proportionately more difficult to practice as nothing is set in play. Developing technique is one thing, developing a system of muscle memory and response stimulation during natural and un-natural response within time frame and space available takes years of practice. Technique is dimensional true but so is chaos and simplicity.
Sunday, January 31, 2010
A picture tells a thousand stories! Both people in the photo above are extremely experienced in martial arts technique. One of them much older and ever so slightly more experienced.
The point to this blog entry is this: Everybody who trains in martial arts needs to continually develop themselves. You can only do this by being continually involved with a strategy of self development. Pretty obvious you might say. Not to so many who cocoon themselves within a stagnant repetitious training regime, or style confinement? The old saying “you should get out more” is so true. One of my Japanese Sensei’s told me that at least once a week I should train with someone with more experience and practical ability than myself. I have always looked upon this advice as good advice and true in practice, although difficult at times.
The same techniques practiced over and over again, not repetitiously as such but with ever increasing perspective and situation consideration. It’s possible to climb different mountains with the same piece of rope but never in the same way! We need to examine how efficient and effective technique is achieved, diversely.
One of my Sensei’s tells me he’s a guide not an instructor as such. He will show me a series of metaphoric dots, how and when I recognise these dots is one thing, how I perceive them and how I join them up and apply them is another. If he prescribes everything in a rote fashion I may get something from the experience, his way....perhaps but not necessarily mine.
I didn't physically exert myself at the training session the above photo was taken, although I did put my mind in gear. From observation I deduced that individually my techniques in certain circumstances were adequate for level one. More importantly I observed ways how to improve them to a level two. Level two being almost impossible to apply without effective engagement. This can only be done in a reciprocal way with somebody who understands pain and wants to understand how more efficiently to inflict it.
My training is not for the faint hearted or people afraid of pain. No good for an immature mind where their only experience of violence is a dancing class, Playstation game or Tom & Jerry cartoon battle antics.
Thursday, January 28, 2010
So hard to get the right balance of attack speed and defence coordinated because the attack if struck correctly will stop the action. Then the drill will be too short. There is much compliance involved leaving the prime effect lost. However by syncopating the strikes with control the potential of each action can be analysed.
Thursday, January 21, 2010
This is a small glimpse of an inside hand drill, done at a more realistic speed it ends abruptly as it slips out of predictable syncopation. Obviously the nerves are not struck with technique on defence or the counter strikes too disabling to allow continuance. I'll be working on the camera technique.
Thursday, January 14, 2010
Wednesday, January 06, 2010
Working on my unverified theory that 10% of the people in the world are left handed, 10% don’t respond to pain, 10% are Gay and 90% of Martial Arts practice, technique and tradition is prescribed, embellished and or, not fit for the definitive purpose of drastic self defence, I put pen to paper. At best organisational Martial Arts are a very good regime of fitness, discipline, hypothetical study of combat technique and recreational pursuit.
I feel violence has a very serious role to play when embarking on an investigation into the abyss that is Self Defence and effective Martial Arts, dynamics, tactics and applications thereof, infinite by specific or adequate comprehension. Violence can be manifested by a state of mind, through physical exhibition or extremes of both in varying proportions. It can be instantaneously stimulated or calculated and articulated. Absolutely required for self defence Martial Arts is an appreciation and experience of the consequences of violence for all circumstances. Accompanying these attributes will be a means and an advantage maybe, by which to avoid confrontational violence.
Athleticism, fitness, physical ability, state of mind, preparation, knowledge, demonstration and understanding of skills is without doubt vital and any essential, serious consideration when contemplating a study of the Martial Arts. I personally feel they are subjective rather than objective. Over the years I have been trained by and studied a plethora of teachers and students. I have come to the conclusion that from the broad spectrum of Martial Arts that my limited considerations have assimilated so far, are particular to me. To that extent I want to, do and will excise my right to express an opinion of training in the Martial Arts. I do not imply I am right in my practice or thinking, my preference rather to share it, for whatever it’s worth to anybody else.
Specifically this year I’m going to focus my attention on who and what has had the greatest influence on what I am practicing today. Hopefully pass on the data to whoever wants it for their own studies. From day one I have been heavily influenced by a number of people I’ve trained with. All important to me and essential for the understanding I have today. However I have to refer to Sir Isaac Newton’s Three Laws of Motion for help in giving this article impetus and direction.
So what objects in the Martial Arts fraternity would give one a change of direction? Dave Hazard, Steve Morris, Bruce Miller, Patrick McCarthy and Terry Wingrove…………….? For me without doubt! I reckon I can recruit enough theory and application from my combined experiences with these guys to give a reasonable account of “myself as a Martial Artist”. Probably to their dismay and denial but who gives a shit at the end of the day?
I hope this article will stimulate or aggravate (whatever) more than a few minds into pursuing a furtherance of their understanding of how the teach, guide, learn, practice or train students of Martial Arts and Self Defence. After all an anatomical technique is an anatomical technique, its principle and variations thereof and how it’s applied are subjective, not necessarily prescribed adequately for all anatomical considerations. This applies to prescribed form too!