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American Judo and Jujitsu Federation

Fall 2007

Weapons and DZR

Editor's Corner Weapons Training Sharpens Your Body Arts Encounter With a Grand Master Camp Kodenkan North 2007

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A Final Tribute to Frank Diarmit, a True Warrior 11 "Nice Hanbo!" Use of Weapons Benefits of Weapons Training AJJF Business Black Belt Promotions

Professor Tom Hill www.ajjf.org

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Editor's Corner

What does a phantom cellphone and a samurai's sword have in common? Certainly, a cellphone, real or phantom, would seem to be totally unrelated to a sword, although one might argue that both are tools used for communications. Somehow, though, the image of doing a cellphone disarm does not provoke the same adrenaline rush as practicing the sword disarms. Walking on a cellphone is not the same as performing the swordwalk, and the phrase, "Hell under the upraised cellphone," just does not have the same ring to it. A recent news story discussed "ringxiety," the phenomenon wherein a cellphone user is convinced that they heard their phone ring or felt it vibrate on their hip. This can be extremely disturbing if the phone were left at home that day. So if the phone is not even there, what is happening? It turns out that the brain develops a map of every point on the body. When someone wears a cellphone in the same spot day after day, the brain starts to view that phone as a part of the body and includes it in the map. Because the brain is also very good at filling in missing information, a chance sound or sensation gets interpreted as a ring or a vibration from the phone. So what is the connection to the sword? One of the goals of weapons training is to make the weapon an extension of your arm: a virtual part of the body. Physiologically, this occurs when the brain becomes so accustomed to the presence of the weapon that it starts to include it in the map of the body. At one time, those who trained in the arts of the sword carried their weapon everywhere. It was almost always either on their hip or in their hands, much like a Blackberry is today. This constant exposure and practice with the weapon enabled the swordsman to become "one" with his weapon. Today, weapons practice is relegated to the dojo. We do not walk around with swords on our hips, at least not if we want to avoid a chat with Officer Friendly. As a result, it can take a very long time to build the level of physical comfort with the sword, or any other weapon, that is necessary to develop true mastery. So what can be done to speed up this process? Start by recognizing that there is no magic here. This is all about time on task, and while some people will develop that mental map quicker than others, no one is born with it or develops it without practice. Therefore, if you want to develop proficiency and comfort with a weapon, the key is to hold that weapon as much as possible. Wear it in the same place, hold it in the same hand (for one handed weapons). If you keep putting the weapon in a different spot on your body (hip, back of the obi, etc), your brain will not be able to map it and it will remain "separate." Do not wait until you are ready to practice with it to pick it up: hold it during warmups, during rolls and falls, and whenever else you can safely carry it. A yawara stick can be carried around very easily; a boken or shinai less so. In the end, where you put your chi is up to you: in your sword, or in your cellphone.

The Kiai Echo is the newsletter of the American Judo & Jujitsu Federation (AJJF), a non-profit educational organization that promotes Danzan Ryu Jujitsu. The Kiai Echo is published to all standard annual members of the AJJF in the United States and on the Web at www. ajjf.org. The contents of this publication may not reflect the opinion of the editors, the AJJF Board of Professors, its Board of Directors, its Operations Committee or members of the AJJF. SUBMISSIONS: Articles should be sent by email in text format to [email protected], or on disk or hard copy. Hard copy should be typed, not handwritten. Photographs, artwork and digital images must be at least 300 dpi; JPG, PSD, or PDF formats are preferred. Original artwork may be scanned at 8.5" x 11" maximum size. Originals will be returned if accompanied by a self-addressed, stamped envelop. Please do not send WordArt or Word files containing graphics. COPYRIGHT © 007: American Judo & Jujitsu Federation. All articles, photographs and illustrations are property of the AJJF and may not be reproduced without the written permission of the AJJF and the authors or creators. Unless otherwise stated, any submission may be published either in the printed journal, on the AJJF Web page, or both. SUBSCRIPTIONS: Available to nonmembers for $0 per year, or $5 per issue. Address all correspondence to: Stephen Balzac Kiai Echo Editor 30 Carriage Lane Stow MA 01775 Email: [email protected] Editor: Stephen Balzac Copy Editing: Corwin Coburn Contributing Editors: Dan Browning, Phil Ames Staff Photographer: Kyle Parker Spell Checking: Miriam Webster Courier Services: Pikov Andropov

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Kiai Echo

Weapons Training Sharpens Your Body Arts

Dan Browning

Why should anyone study kobudo? We've been told time and again that weapons are just an extension of our body. So we ought to be able to practice our body arts and simply apply them to weapons if needed, right? Besides, what's the point of studying ancient weaponry? We can't carry a katana around with us. Get caught with a shuriken and you could be arrested for carrying a concealed weapon. And while we probably could get away with carrying a fan, what good would it really do in a fight unless you happen to be Prof Tom Jenkins, an expert in the use of the tessen? I'm no weapons expert. I'm barely a novice. But I've been working lately with a jo and a bokken and I'm beginning to see the value of weapons training for taijutsu (body arts).

Face off with someone with a sword ­ even a wooden one ­ and you don't feel like you're doing a hobby or competing in a sport.

Mostly, I practice the 31-count and 13count jo katas and kumikatas (paired practice). And for my recent shodan exam in Aikido, I had to be able to demonstrate takeaways from an attacker armed with a jo or a bokken. My uke took his job seriously. Had I failed, I might not be writing this article.

A weapon focuses the mind on the martial aspects of our practice. Face off with someone with a sword ­ even a wooden one ­ and you don't feel like you're doing a hobby or competing in a sport. You pay much closer attention. Weapons convey the importance of precision in technique. A false step can be devastating. So practice should be slow, repetitive and precise until the movements become automatic. I made the mistake recently of following a whim and crossed in front of a bokken thrust. I took a full-thrust tsuki about an inch below the solar plexus. (Thank god for kiai!) That kind of a mistake against a punch would be survivable, and one might even be tempted to try it again in the hopes of gaining some advantage over an opponent. But what if the opponent had

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been concealing a knife in that thrust? Your taijutsu skills should work whether the opponent is armed or not, otherwise you're not studying a martial art, but, rather, a fighting system. Martial arts are not about fighting. They're about war, and because so much is at stake, their study helps to perfect one's character.

be done just so. Do it wrong, and the sword may bite the scabbard, slowing the movement enough to cost you your life. Misplace your hands when striking with a jo and the butt end may pop up in your face. Turn your wrist the wrong way in tanto tori (knife taking) techniques and if you're ever called upon to do it for real, you could end up face down in an alley. When studying weapons, one learns to pay strict attention to the instructor's movements, a habit that will benefit your taijutsu training as well. Did you notice the thumb placement in akushu kotemaki tori? It makes a difference. Weapons quickly teach that good enough just isn't good enough. The use of weapons also helps coordinate the limbs with the torso. A bokken strike made with the arms will wear you out in a hurry. The strike must be coordinated with the steps to make maximum use of gravity and the larger muscles of the legs and hips. Tim Sheldon, a yondan in Aikido from Virginia, says the principle of combining hand-to-hand skills with weapons is called riai. According to Sheldon, the late Morihiro Saito sensei explained that the term literally means a blending of truths. Advanced students of Danzan Ryu may want to consider that concept as they ponder Shinyo no Maki.

Weapons training helps convey the importance of balance, proper distance, timing, blending, precise movements, breathing, relaxation, mental focus, ki and the fleeting nature of life itself.

Kata training and the accompanying rituals of kobudo help inculcate movements into the body so that the mind is free to act. Many of us have been fortunate enough to observe Prof. Tom Hill and Sensei Tom Lang demonstrate Iaido katas. Their movements are clean, deliberate and intense. Yet they are relaxed, embodying Master Henry Okazaki's commentary in the Esoteric Principles: "Whatever the trials or dangers, even `Hell under the upraised sword,' remain calm and remember the doctrine imparted to you by your teacher."

Weapons quickly teach that good enough just isn't good enough.

One does not have to study weapons to obtain this state of mind. But there is value to doing so. Weapons training helps convey the importance of balance, proper distance, timing, blending, precise movements, breathing, relaxation, mental focus, ki and the fleeting nature of life itself. In Danzan Ryu our weapons training tends to come in the later lists, through the study of Kiai no Maki. I believe this is appropriate. Premature study of weapons techniques may lead us to misunderstand their value. Weapons in the martial arts are not for killing and maiming opponents, but rather, to perfect one's character. The highest level of the martial arts is demonstrated by redirecting conflicts to a peaceful resolution. This is the Sword of No Sword ­ when one realizes that there is no distinction between one's enemy and one's self ­ as described by master swordsman and calligrapher Yamaoka Tesshu (1836-1888). Dan Browning, sandan, is the sensei of Shinzen Kai dojo in St. Paul, Minnesota.

Weapons practice requires great scrutiny. The hand placement, the foot placement, the timing of the strike, the blending with an opponent's strike, each component is critical. The grip on the hilt of a sword to withdraw it from the scabbard must

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Kiai Echo

Encounter With a Grand Master

Michael Belzer

Fantastic Luck Throughout my martial art career, I have been blessed with what can only be called "fantastic luck" when it comes to finding, meeting and training with some of the most accomplished martial artists alive. This started in 197 when, at the age of 18, I traveled to Japan for a year and met Sensei Donn F. Draeger. Most people who are interested in the history and culture of martial arts know the name Donn F. Draeger. Not only was he a scholar who wrote more than 0 books on a variety of arts from judo to classical kenjutsu to pentjak-silat and many more; he also developed a comprehensive system of investigation known as hoplology which is designed as a method to study all fighting systems in detail. Draeger himself was a professional warrior as a U.S. Marine officer seeing action in Korea and Manchuria. An imposing figure at 6' 2", 240 lbs. - all muscle - he had "been there, done that" with all of the modern Japanese sport disciplines (judo, karate-do, kendo) and found them lacking in terms of combative "reality and application." His personal training was focused on what is termed the koryu or ancient styles of weapon systems used by the samurai fighting man. Along with his personal martial arts training, Draeger would travel for three or four months of the year "On Safari" in remote areas of the world seeking out native practitioners of obscure fighting systems, who still used them for personal survival. Much of his work was concentrated in the Indonesian archipelago focusing on various pentjak silat styles of Malaysia, Sumatra and Java. While in Japan I was invited to study at the stick fighting (jojutsu) dojo where Draeger trained when he came into Tokyo from his hometown of Narita. Over the Kiai Echo year that trained there, I only trained with him personally a few times. As I was preparing to leave to go back to the states he told me that if I was interested in learning more about hoplology he would stay in touch by letter and fill me in on the details. I told him that I was interested and over the next 5 years I maintained a relationship with him through letters instructors of different styles including Indian silambam (stick fighting), Chinese shaolin, Malaysian pentjak silat and combative tai chi chuan. Throughout all of these meetings, Draeger explained how he used hoplology to study the fighting systems and put them into historical context. Many times he told me "If you really want to learn about a fighting art, you must go to it's source. Go to the country of origin, find the native practitioners and ask them to show you their art." As I was preparing to fly out of Malaysia, I asked Draeger for advice on "what to do next" in terms of my own martial art training. His reply was to "find a weapons based system and focus on that. Empty hand systems can only take you so far. To understand fighting and combat you must train using weapons." As we said goodbye at the airport I shook his hand and said "This was such an amazing experience, saying `thank you' just doesn't convey what I am trying to say." Draeger smiled, "No words need to be said." By September of 1979 I had found the Kali Academy located in Torrance, California and began training there under Guros Richard Bustillio and Dan Inosanto. The Filipino arts of kali, escrima, and arnis were all weapons based systems that also had extremely effective empty hand applications. My training at the Academy was the beginning of my "graduate school" in the martial arts. Growing up from the age of nine practicing jujutsu, traveling to Japan to study aikido and jojutsu, meeting and traveling with Donn F. Draeger and now training at the Kali Academy were the realization of many of my martial arts "dreams". I followed Guro Inosanto as he opened up different schools in Culver City and Marina del Rey. Between 1979 and 1985 I progressed through the phases Page 5

that culminated in an invitation to travel with him from Japan into Thailand and then to Malaysia and the island of Penang. During the summer of 1979, I spent three amazing weeks training and traveling with Draeger. We practiced stick fighting as part of an international group of jojutsu exponents who meet every three years for a centralized training. After the 5-day camp, I was privileged to be introduced to a variety of masterFall 007

of training, gaining an understanding of the basic elements, training methods and weapons of the Filipino fighting arts. By mid 1985, an opportunity came to travel to the Philippines and "go to the source" to see how these arts were practiced in their native environment. I jumped at the chance, plunked down the credit card and prepared for a trip that would take about 3 months. I was 8, in excellent shape and felt like I could "hold my own" if I had to. My goal was to travel throughout the islands, meet a variety of instructors and

The first decision I had to make was what to do with my all the gear in my backpack. This YMCA only had shared rooms with other travelers ­ complete strangers. My roommate was not in the room when I opened the door so I had to decide: Do I take all my gear with me along with all my money? I decided to leave the gear and take the money with me. Sure, most of it was in Traveler's Checks but I did not look forward to dealing with getting robbed on my first day in country!

and gang attacks took place in this ghetto of Manila. As we moved through the streets, I noticed that Roberto moved deliberately and nodded in recognition to several people. After about 30 minutes of walking, Roberto announced, "We're here!" We walked though a small outdoor basketball court where the local kids were playing and Roberto called out "Tatang!" Tatang means "Father" and is the term that Ilustrisimo's students used to refer to him

document their different styles. I had no contacts to meet when I arrived. It would be a "catch-as-catch can" traveling style... Into Tondo As I stepped off the bus in front of the Manila YMCA, I noticed a young man leaning against a wall watching the bus unload. I grabbed my backpack (which happened to have two rattan sticks strapped to its side) and walked toward the front desk. As I waited to check in, the young man approached and asked where I was from. "I am from the U.S. and I came to study the Filipino martial arts." The young man smiled and said that he practiced arnis and introduced himself as Roberto Morales. We chatted a bit and within just a few minutes, Roberto told me "I can take you to my arnis teacher. His name is Antonio Ilustrisimo and he is a famous teacher with a fearsome reputation here in the Philippines."

With the gear stashed, I moved out with Roberto and we started to walk through the streets of Manila. Things were getting more and more "ghetto like"; corrugated tin buildings, narrow streets congested with people, "jeepnys," chickens and dogs. As we wound through a maze of streets, a couple of thoughts occurred to me: 1. Young Roberto could stick a knife in me and take whatever the "rich Americano" was carrying. . I had no idea where I really was and did not know how to get back to the YMCA on my own. However, even with these concerns, my "spidey-sense" was not activated and Roberto and I walked and talked as we wound through the narrow streets and alleys. Although I did not know it at the time, the area of Manila we were walking through was infamous for being dangerous and violent. Many muggings Fall 007

as a sign of respect. An old man opened the curtain and nodded at me. Roberto spoke to him in Tagalog and told him that I was a martial artist from the States and I was interested in learning about arnis. Ilustrisimo smiled and invited us to come inside. To say that we were in "tight quarters" was an understatement. We were in a corrugated tin hut about the size of a single apartment. There were two bunk beds inside along with a kitchen area. Ilustrisimo lived there with his wife and two others. Almost immediately, Ilustrisimo reached up into the ceiling and pulled down a metal pipe that had two fine/flexible metal "feelers" on the "business end" of the stick. Ilustrisimo said, "I attack, you block." He gave me angles 1 & and each time I blocked the pipe, the metal "feelers" ended up in my eyes. He smiled and said it was one of his "special weapons." Then he asked to see more of my movements with the stick. I demonstrated various techniques both solo and using Roberto as a partner. Ilustrisimo and Roberto spoke together Kiai Echo

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and then Roberto said to me "Tatang says your movements are `very beautiful' but they are not what he does. If you would like to train with us we meet at Rizal Park every morning. You are invited." "I'll be there," I said. Roberto escorted me back to the "Y" and we found dinner along with a few San Miguels and I was off to sleep.

names for the different fighting styles of the Philippines as there are individual islands and tribal groups in those islands. Ilustrisimo's personal fighting style is a perfect example of this fact. When I first met young Roberto Morales, he told me he would take me to meet his arnis teacher. When I actually met Ilustrisimo and he talked about his style he referred to it as escrima. Years later, when I read the first book on Ilustrisimo's style titled: The Secrets of Kalis Ilustrisimo by Tony Diego and Christopher Ricketts, Diego stated: "The Ilustrisimo system of escrima is known by the name of the family that rightly deserves the honor: "Ilustrisimo. We prefer to call it kalis Ilustrisimo (kalis means sword), but it is also known as olistrisimo escrima (olisi means stick) and Ilustrisimo arnis. By whatever name we call it, it still is and ever will be, the fighting art of Antonio Ilustrisimo."

shapes of blades are used, but the barong was a personal favorite of Ilustrisimo. The barong is a "leaf shaped" blade that has been known to take off a limb if necessary. Ilustrisimo should know, as his first life and death encounter came at age 15, when he was accosted by a Muslim fanatic who took offense at Ilustrisimo buying beer. According to Tony Diego "When Tatang ignored him, the Muslim cursed him vehemently and advanced on Tatang, drawing his kris. As he prepared to slash at Ilustrisimo, Tatang drew his own barong, and cut off the attacker's head in one motion called tumbada." As Ilustrisimo himself related the tale for Mark Wiley in his book Filipino Martial Culture, "...he strikes at me but I beat him (to the strike). His head is cut off by me and the body run away. It did not

Arnis, Escrima Or Kali? I met with Ilustrisimo and his small band of students every morning from about 7:00 am to 9:00 am. His senior instructor, Tony Diego, was present during most of these sessions and spent a good amount of time drilling with me over the next month. We worked on basics that are common to all of the Filipino stick and knife fighting styles: angles of attack with the stick, evasive foot work, blocks and deflections, follow up strikes, stick and knife combinations and double sticks. As we worked on these basics I asked Ilustrisimo and Tony the same question I planned to ask all of the instructors I met on my trip: "What is the difference between arnis, escrima and kali?" Depending on who I asked, I received different answers but what it really came down to as a practical matter is that arnis, escrima, and kali are all systems of stick, knife and empty hand systems with very similar movements, theories, drills and techniques. They all display a distinctly "Filipino flow" for lack of a better word. The geographical and historical truth is that there are as many Kiai Echo

Arnis, escrima, and kali are all systems of stick, knife and empty hand systems with very similar movements, theories, drills and techniques

Secrets of Combat The secret is that there are no secrets. According to Ilustrisimo, "I do not specialize nor favor any combat range. Everything depends on my opponent and the development and evolution of the fight." However, his use of the thrust was a distinguishing characteristic of Ilustrisimo's personal style that became immediately apparent to me. From all of the basic blocks and deflections Ilustrisimo would simply thrust the tip of the stick forward into the appropriate "soft target:" eyes, throat, diaphram, groin, armpit, etc. As he demonstrated this on me he simply said "For combat." The Ilustrisimo style is based on the use of the blade. Many different sizes and Fall 007

go down right away and the blood was still running everywhere. His eyes were intense and staring at me from his head on the ground, so I thought maybe he has anting-anting (spiritual protection)." Wiley (who has made a series of ten research trips to the Philippines) also reports in his book that Ilustrisimo's reputation as a fearsome fighter and participant in several of the infamous "death-matches" of the Philippines is recognized by other master-instructors throughout the islands: "...Along the way, Ilustrisimo encountered martial arts masters from around the world and fought in more `death-matches' than perhaps any other Filipino martial arts master. Ilustrisimo is among the most respected and feared kali masters that the art has ever known ­ as indicated by Page 7

his nickname, `Tatang,' a Tagalog term of respect." Wiley met Ilustrisimo at age 87. I met him 15 years earlier at age 7 and he was quite ready to mix it up with anyone at anytime. While there are no "secret techniques" in the art of kalis Ilustrisimo, there are two very important fighting strategies. One is termed enganyo or feint. The enganyo is designed to fake or make the opponent create an opening that can be attacked. Connected to enganyo is prakcion (or fraction) which involves "beating him to the punch" using more timing than speed. Other strategies that are emphasized in this style are: 1. Keep calm and relaxed. 2. Know your distance. 3. Use the shortest path for your trajectory. 4. Put the weight of your body behind your strikes 5. Guide the opponents force rather than meet it. 6. Be an honest and good man, free of guilt and clear of mind and conscience. 7. Know when to break the rules. Give Me Half Of Your Money During the month I was training with Ilustrisimo in Manila, I shared with Roberto my plan to travel to other islands to meet different instructors and view their styles of escrima, arnis and kali. One day, Roberto came to me and said "Tatang has agreed to accompany you on your trek to the other islands. He will act as your interpreter and bodyguard. You will need them both." I was surprised and, frankly, a little stunned at this offer. My first plan was to go on this island trek alone, but after talking with both Roberto and Ilustrisimo, we decided that Roberto should also go with us to act as the "advance man" and make the initial inquires whenever we arrived at a new location. By the end of the evening we had a three man team and we dubbed ourselves "The Three Musketeers!"

We planned to be gone for about a month and the only payment Ilustrisimo asked me to make was to provide enough rice for his family while he was away and to pay his expenses while he was on the road with us. Roberto asked for the

As we hiked up the mountain, Ilustrisimo kept up with us easily. He just took it slow and steady and surprised us by saying the last time he "walked in the mountains" was when he was 17! We made contact with a tribe called the Mangyan Hananoo. We entered their village of thatched huts and quickly became the "big news" of the day: Outsiders from down below and a white man is with them! The children gathered around us laughing and trying to touch us. We met the head of the village and Tatang was able to communicate with him and explain what we were doing. The "chief" asked us to demonstrate "your arnis" and we all did so. The elders of the village were present for our demonstration and expressed interest in what we were doing. They showed us their "jungle bolos" that they carried and said that the weapons the Mangyans used were all for hunting. They used the bow and arrow, the spear and the blow gun. There are no specialized systems of training for these weapons other than the hunt itself with the children going out with the more experienced men. They further explained that all of the Mangyan tribes used to live near the coast, but over the years "civilization" has pushed them farther and farther into the mountains. They were concerned that this might keep happening, but when I asked them if they would fight to stop that, the chief told me that "fighting will only bring bloodshed, pain and suffering. We will retreat further into the mountains." I asked him "What if someone was coming to harm your family?" The chief answered me that he would, "wait in a tree and use my blowgun."

While there are no "secret techniques" in the art of kalis Ilustrisimo, there are two very important fighting strategies. One is termed enganyo or feint. The enganyo is designed to fake or make the opponent create an opening that can be attacked. Connected to enganyo is prakcion (or fraction) which involves "beating him to the punch" using more timing than speed.

same thing and I agreed. Then Roberto said "You should give me half of your money. I will hold it for you." This really surprised me and I asked him why. "Because you are considered a rich American and will be looked at as a target as we travel. If you get `rolled' and have all of your money stolen, we will all be stuck somewhere without any way to get home. You are the only one of us that has any real money!" After thinking about it for a few minutes, I realized that Roberto was right and I really needed to do just what he said. I did so and through out the trip Roberto would give me a daily money report about expenses and what needed to be spent. He was an honest man. Trekking The first island we visited was Mindoro, located just south of Luzon. Roberto "made the way" for us, and knew of a mountain tribe known as the "Mangyan." Fall 007

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After our demonstration and discussion, we played some games together. I asked them to show me some "competition games" and they showed me how to "foot wrestle". I exchanged that with arm wrestling and everyone had a good laugh. We decided to move on, said our goodbyes, and worked our way down the mountain to a lagoon where we all took a much-needed bath in the middle of the jungle. A Spiritual Man As we continued our trek through the islands, we visited Cebu, Negros, Mindanao, Bantayan, and even the small island of Jolo at the southern tip of the Philippines. We traveled by banca (boat), bus, jeepney, and on foot. Along the way I had unique opportunity to interview Ilustrisimo about many topics, train with him privately and gain more insight into his history and background. He was a spiritual person who prayed twice a day. A practicing Christian, he also integrated Muslim beliefs and the Filipino concepts of oracyon and anting-anting. Oracyon are prayers that are said to contain special powers and are usually written on small scraps of paper and kept with the individual. Ilustrisimo has an oracyon tattooed across his chest. He says that this prayer makes people tend to be nice to him and not know why. Anting-anting are little amulets that have been imbued with special, protective powers. Ilustrisimo is adamant that the powers of both oracyon and anting-anting have kept him safe in his battles, especially when he fought against the Japanese. We also discussed the mental and emotional qualities that Ilustrisimo felt were critical to his style. The mind-set is called Dakip-Diwa and according to Ray Galang, Ilustrisimo's most senior student in the United States, "Dakip-Diwa is the secret behind the reputation, the art, the skill of the Filipino warrior, the Mandrigma. In the practice and cultivation of this mind-set, the Mandrigma develops, trains and controls his mind for combat situations until Dakip-Diwa takes supreme and absolute control of his body emotions and spirit."

The concept of Dakip-Diwa seems most similar to the Japanese concept of mushin or "no-mind." There is no preconceived idea of what is to happen in a combative encounter. Your mind is much like a mirror that simply reflects what is happening and you respond spontaneously and appropriately.

single and double sticks, stick and knife, staff, bull whip and many empty hand techniques. Several of Guro Cacoy's uncles were there - they were also in their 70s and contemporaries of Ilustrisimo. I saw them talking off to the side and they were all laughing and showing each other their different "battle scars." Going Home The "Three Musketeers" had many more adventures as we visited Ilustrisimo's home island of Bantayan and he was "welcomed home" by the entire village; then we made the long boat ride down into the southern Philippines, the land of the Moros, visiting the cities of Davao and Zamboanga; and finally down to the little island of Jolo where Ilustrisimo also spent many years as a youth. In each of these places we were successful in finding instructors of various styles, interviewing them and seeing demonstrations of their own personal styles and systems. It was for me a martial dream come true. After our month of trekking, Ilustrisimo announced that he had to return home to his family. I also realized that it was time for me to return to the United States and see what was waiting for me back home. My "fantastic luck" was there for me that day when I stepped off the bus in Manila and was taken to meet this Grand Master of the Filipino fighting arts ­ Antonio "Tatang" Ilustrisimo. Born in 190, Ilustrisimo finally passed away in 1997 at the age of 93. He was a strong man, a fighter, a good teacher and most of all, a kind man who was willing to help a stranger. The story I have related in this article is just the tip of the iceberg in terms of Ilustrisimo's amazing life and his personal style of combat. If you are interested in learning more about him I encourage you to locate the following books: The Secrets of Kalis Ilustrisimo by Tony Diego and Christopher Ricketts Filipino Martial Culture by Mark Wiley Filipino Fighting Arts by Mark Wiley Michael Belzer is Director of Training for The Realistic Scenario Training Corp.

1. Keep calm and relaxed. 2. Know your distance. 3. Use the shortest path for your trajectory. 4. Put the weight of your body behind your strikes 5. Guide the opponents force rather than meet it. 6. Be an honest and good man, free of guilt and clear of mind and conscience. 7. Know when to break the rules.

Judo In Cebu We made our way to the Visayan island of Cebu which many practitioners consider to be the "home of escrima" and located the famous Doce Pares school of the Canete Clan. It was a Sunday and while I waited outside the school I learned that Cacoy Canete required that all of his students practice judo on Sundays as a pre-requisite to participate in his escrima training. He felt that the throws, takedowns, joint locks and grappling techniques were all applicable in the "close quarters" of a fight and in fact integrated them into his own style of escrima he called "Eskrido." I worked out with the judo club and had some good tussles with the young men that showed up that day. I met Guro Cacoy Canete and he invited us back the next day to watch their regular escrima training. In fact, they prepared a big demonstration for us and we were shown a variety of techniques for training with Fall 007

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Camp Kodenkan North 2007

Kathie Himmah and Karen Lollis

Prof Tom Ball and his wife Jan once again hosted Camp Kodenkan North at their Sis-Q Ranch in June ­ a tradition spanning three decades. Camp North is an opportunity to enjoy your AJJF family in one of the most beautiful areas of California. Set in this protected rural region, the ambiance is very peaceful. Jujitsu classes are taught primarily outdoors on the lawns around the house. The ranch is nestled in a breathtaking valley framed by stunning mountains. Llamas and horses are in the fields, chickens in the barns, dogs and cats in the yard. And then there's the atrium full of colorful little birds adding their happy songs to the mix. Accomodations are bunkhouse or bringyour-own. Being in the outdoors and participating in Jujitsu classes increases the appetite. Fortunately, campers get to share plentiful and delicious ranch-style dining, including Jan's made-to-order Sunday morning omelets. Temperatures were pleasantly warm this year ­ a nice surprise for folks who might have been expecting the sometimes scorching Fort Jones summer weather. Evening found the clan gathered around the campfire complete with story telling and guitar playing. Nearly 70 people were in attendance, the most in the past 5 years. Fifteen black belt exams were administered on Friday and Saturday. As with the classes, most exams were held outdoors, but a few were held in the yurt. With so many exams, many people stepped up to fill the need to assist. Even with many classes and exams scheduled throughout the camp, folks squeezed in impromptu seminars which would crop up with small gatherings under the pleasant shade of a tree, near the hammock (which often held a napper), or out on the lawn with the tentcity backdrop. Prof. Ball provided another treat ­ a special trip up to the Look Out Tower which offers a top-of-the-world view of the valleys around the ranch. Camp North, as always, provided a remarkable time to appreciate nature's beauty and the beauty of learning and playing together.

Page 10

Fall 007

Kiai Echo

A Final Tribute to Frank Diarmit, a True Warrior

Professor Larry Nolte

The passing of one's student is very hard to comprehend. Thus the passing of Frank Diarmit on October 17, 007 has left a void within me and the AJJF. Frank Oscar Diarmit was born August 18, 199 and lived life to its fullest. He started his martial arts training at the age of 15. He, like many of us, was able to start at the local YMCA in Salem, Oregon. There he began Danzan Ryu with Sensei Roland Clark. Frank worked hard and obtained the rank of Shodan in 1970. While working in Southern Oregon one summer, he visited the Medford Judo Academy for classes. It was then that Frank truly connected with the principals He was admitted to the Bar in 1981. He finalized his education by attaining his Master of Law in Taxation from New York University in 1987. laughing off the stresses of the work week. Frank's fighting spirit was put to the test when cancer was detected. He was aggressively fighting and winning the battle when family history caught up with him. Frank suffered a cardiac arrest following a surgical procedure. I am glad that I talked Frank into going to Camp North in June. I believe he wanted to have one last hurrah and he did. He helped with exams, taught a class and socialized with everyone. He stayed at my home and we talked for many hours. When he left my house on Sunday morning there was a very long hug as if to say, "Goodbye, my friend." I think Frank knew that we would not see each other again. As a true fighting warrior and, at his request, he was dressed for cremation in his gi, including his traditional hakama. Placed in his hands were a bokken and a yawara stick, both lovingly crafted by his own hands. Frank will be remembered as one of the bravest and most humble men one would ever have had the privilege to know. Sensei and true friend, Larry Nolte

He was thought of as a "gentle giant:" a man of power and strength who never needed to use force because of the respect he garnered.

Frank was known for his deep, gravelly voice, tremendous hugs, quick wit, piercing eyes, brilliant deductions and a zero tolerance for foolishness. He loved music, the arts, supporting local artisans and galleries, woodworking, photography, teaching, cooking and last, but certainly not least, jujitsu. Frank lived and breathed AJJF Danzan Ryu. He provided valuable advice to the AJJF concerning legal issues. He attended and taught many classes at conventions and Black Belt weekends. He also was a part of the examination team helping to test black belt candidates. He was thought of as a "gentle giant:" a man of power and strength who never needed to use force because of the respect he garnered. Frank applied these practices to his private and professional lives as well. Frank's private life was as simple as his principals. He enjoyed sharing his life with his wife Yvette and his brother, James. Frank's form of relaxation was to spend the weekends maintaining his rentals with his brother and Fall 007

of DZR and wished to continue in our program. I granted his wish and became his sensei. Frank traveled to Medford when he could and I was able to help him attain the ranks of Nidan (March 1978), Sandan (July 198), Yodan (March 1991) and Godan (00). Frank graduated with honors from Oregon College of Education (now Western Oregon University) in 1971 with his Bachelor of Science in secondary education. He received his MBA from Portland State University in 1977 and went on to Willamette University School of Law where he earned his JD in 1981. Kiai Echo

Page 11

Selection, Preparation, and Care of Wooden Weapons:

Delina Fuchs and Nerissa Freeman

How much thought have you given to how to properly prepare and care for your wooden weapons? Your yawara stick (tenouchi), tanto, bokken, hanbo, jo, and bo transmit your ki and translate your arts and therefore deserve to be treated with care and respect. A responsible owner would never think of letting a sword become rusty or a a gun sit unoiled. Likewise, you will find that properly choosing, sanding, oiling, and storing your wooden weapons will provide you with years of satisfying and reliable performance. Choosing a Quality Wooden Weapon It is important to choose a weapon that will withstand years of practice, whether you just use a bokken to perform the daito techniques of DZR Jujitsu or you are using your jo for regular kumikata (paired practice). Although recent impact tests have been done to reveal which very few hardwoods can best serve serious, daily weapons practitioners, the moderately graded oak woods are more than adequate for the average DZR Jujitsu practitioner. This is because most of us do not use our wooden weapons daily; these weapons rarely experience regular impact with other weapons, and solo practice with the weapon does not require the safety precautions that kumikata does. Since most will not have the time or desire to make their own weapons, some simple guidelines will assure you the best possible choice for your level of usage: 1. Purchase ready-made weapons from experienced practitioners or artisans who make their weapons with martial arts use in mind. Ask them how they choose their wood. This will tell you whether their choices are more aesthetic or utilitarian in nature. . Stay away from vendors found in tourist traps and malls. Page 1 result, find that the weapons do not last. The most important thing you can do to assure longevity is to sand and oil your weapon properly upon first acquiring it. We will begin with how to sand and oil your wooden weapons. You will need the following supplies: · Wooden weapon of choice. · Linseed Oil (art supply or some hardware stores) or Tung Oil (hardware stores). Linseed Oil is traditional, but Tung Oil will also work, and is also the main ingredient in Danish Oils (which also come in a variety of stains). · #0, #00, and #800 grit sandpapers. You may also use #1600 grit sandpaper as a final finish if desired. · Newspapers or cardboard over which to work. · Rags to wipe off oil, making sure to set aside dry rags. 5. Choose a weapon made of hardwood that is not so dense that it becomes brittle, and not so soft that it dents and warps easily. Some of the best woods for longer wooden weapons such as the hanbo, bokken, jo, bo, naginata, and yari are the Japanese white oak, white ash, purpleheart, and birch. Shorter weapons, such as the yawara stick and tanto, do not require the same qualities as longer weapons, so African Ebony, Coromandel Ebony, Osage Orange, and Honduras Rosewood are preferred although they can be difficult to find and somewhat expensive. Initial Preparation of Wooden Weapons Many martial artists do not care for their wooden weapons regularly, and as a Fall 007 Make sure you will be doing your work in a well-ventilated area. Begin with a piece of #0 sandpaper and sand along the grain of the wood. If you are working with a bokken or tanto, make sure to dry sand both the hilt and the blade. If you are sanding a bokken, be careful not to sand off the edges that already exist on the blade. If there is already a finish on the wood, work until you have removed it entirely; this will give you the opportunity to inspect the quality of the wood at close up inspection without the masking some finishes can present. Now, put some oil on a clean rag and rub it into the wood. Do not oil the hilt of a bokken or tanto (traditionally the oil from your hands will rub naturally into the hilts over time and helps to unify the weapon and the wielder). Do oil the entire length of the other wooden staves, including the Kiai Echo

"Nice Hanbo!"

3. Choose a weapon free of knots in the wood. . Make sure the grain of the hardwood is as straight as possible.

bo, jo, hanbo, and yawara stick. Leave this oil on the weapon, and then put some oil on a piece of #00 sandpaper. Continue to wet sand the weapon with the oil and #00 sandpaper, making sure not to oil the hilt. Periodically wipe the weapon with a clean rag. Repeat the above wet sanding procedure with #800 sandpaper, and then with #1600 sandpaper if desired. Finish the process by wiping the weapon with a rag, damp with oil, and then with a clean, dry rag. Since a wooden weapon is an extension of its practitioner, it is important to be mindful during the entire process, making sure to manifest positive intention and focus. The entire process should take only 30-60 minutes, depending on how much sanding is needed and desired. You'll find that the end result is a weapon that is not just smooth, but a pleasure to use. Yearly Maintenance Delina has gotten away with using the same jo for over twenty years only because she initially took the time to prepare the wood carefully as above. However, taking time every year to smooth out dings, oil, and wet sand your weapon will prevent the splintering and cracking that occurs with the average oak weapons most of us use.

Since a wooden weapon is an extension of its practitioner, it is important to be mindful during the entire process, making sure to manifest positive intention and focus.

You will need the same supplies and set up as you used for preparation; then follow these simple steps: Use the #0 sandpaper to dry sand off any unsightly dings or chips that might have occurred during practice. Be sure to sand along the length and grain of the wood. You should not need to do any sanding on the hilt of a bokken or tanto since the oil of your hands should accumulate and no contact with other weapons is made on these parts. Then follow the wet sanding procedure using #00, #800, and #1600 grit described above. Performing this maintenance will not only restore the weapon to its original luster, but it will provide the wood with much needed oil to prevent it from becoming brittle and allow it to maintain its strength.

Storing Wooden Weapons Longer than 24 Inches A quick story will illustrate the need for proper storage of your hanbo, jo, bokken, bo, naginata, or yari. A few years ago Delina leaned her jo up against the corner of a wall at the dojo. The following weekend in a typically hot, Chico summer, Chico Kodenkan was getting a much-needed steam cleaning of its tatami. The combination of the moisture and the heat created a warp in her jo along the length of it with a distinct lean towards the corner it was up against. It took her quite a long time to work the warp out of the jo--some of which is not entirely gone. She learned her lesson that day. Don't get lazy. Either lay your weapons down on the floor or put them up on a weapons rack when they are not in use, and you will be spared similar grief.

You'll find that the end result is a weapon that is not just smooth, but a pleasure to use.

All in all, taking a little bit of time and care with the choice, preparation, maintenance, and storage of your wooden weapons will save you money and allow you to make the most out of your training with the many wooden weapons of jujitsu and the martial arts. References Cunningham, Don (000). Secret Weapons of Jujutsu. Aurora, Illinois: Budo Kai, Ltd. Goedkoop, James (1999). Aikido Today Magazine, Issue #63; Vol 13, No. 3, Special thanks to Keith `Sir Urban Cheeseshank' Howell for his valuable feedback. Delina Fuchs is an AJJF Yodan, and sensei of Chico Kodenkan. Nerissa Freeman is an AJJF Sandan and cosensei of Makoto Kai in Woodland, CA.

Kiai Echo

Fall 007

Page 13

Use of Weapons

Phil Ames

Has it been that long already? Another issue of the Kiai Echo? Well, since I'm writing this (and I generally wait until the deadline) it must be about time. I hope everyone finds themselves well since reading my last article. I enjoyed going to Brown Belt Weekend and making a few new friends. At Brown Belt Weekend I even got to do some weapons stuff and I enjoyed that. I generally enjoy the weapons. I think they're fun to practice with and I haven't done enough with them to take away the newness and mystery. However, I have learned a few things in regard to weapons and I'm going to share some of them in this article. Think of this as a highlights article. weapons so we don't feel like we'd be fine in an altercation with one weapon and not another. If it ever hits the fan we can't be thinking "If only I had a knife instead of this stick," or "Oh no, I've never had to defend against a club before." Danger: There is some danger involved with weapons. That's what they do, they make it possible to hurt people faster, easier, and worse than without. So as you're practicing be aware of that. You've got to be there completely when you're practicing with weapons, you can't be thinking about your bills or what's for dinner. If you're practicing with weapons you've got to be in the right mindset. More Danger: Each different weapon presents a slightly different danger. What do I mean by that? I mean that you can take all the bullets out of a gun and then all you've got is a gun shaped club. So the risk of being shot by a gun is dependent on the availability of ammunition. What about a knife? Knives are pretty much always dangerous, they don't require anything else. These are things to be aware of. Clubs are much like knives in that they don't take ammunition and thus can't run out but they have an advantage over knives, they are effective all the way around and not just on one or two edges. We also have to be aware of what kind of wound or injury each different weapon causes. Weapon Mindset: This is one I struggle with a fair bit. With a weapon mindset you can turn a ball point pen or a cell phone into a weapon. You can also turn yourself into a weapon. I'm working on this. Having the weapon mindset makes a huge difference. It is mutually incompatible with the `about to lose a fight' mindset. How much of a fight is mental? Plenty. I need to practice this. Running away: It's okay to run away. It's not a decision I can make for you and I can't cover all the scenarios but I consider running away when confronted Fall 007 by a person with a weapon to be a viable option. Of course you wouldn't want to run away if you were with people that were also in danger but couldn't run away.

You've got to be there completely when you're practicing with weapons, you can't be thinking about your bills or what's for dinner.

Legal issues: Weapons are often regulated by the government. It's everyone's job to be aware of the regulations in their area. The choice to possess a weapon comes with the responsibility of knowing what you can and can't do with it, places you can go with it, places you can't, and, what might happen should you break the law. If you use a weapon on someone, expect repercussions. Criminal proceedings, civil proceedings, stuff happens. Have your bases covered. Cost: Some weapons can be very expensive. How about an authentic artisan made katana? That could cost a whole bunch of money. Guns? Also prone to costing money and then you've got to pay for ammunition too. It's the simple things that I so often forget to think about. I write them because I need to hear them myself. I hope this article has you thinking about something you hadn't thought of before. Weapons can be a great advantage or they can be a disadvantage. Practice is the answer. If I had to pick one thing to impress upon the readers of the Kiai Echo it would be this: practice. Until next time folks, keep your knives sharp and your wits sharper. Kiai Echo

With a weapon mindset you can turn a ball point pen or a cell phone into a weapon. You can also turn yourself into a weapon.

Distance: The use of weapons requires that you keep a different space between you and your target/assailant. Part of the main idea behind weapons is to be able to hurt without getting close enough to get hurt. I can't think of a weapon that decreases your reach. So be aware of the spacing because it's different with each weapon. This is really obvious right? Why do I always forget about it? Because I don't practice enough with weapons. Practice: We've got to practice. What's the secret to mastering jujitsu? Practice. We need to practice with weapons just like with other stuff. In fact we might need more practice with weapons because they aren't strictly natural (by which I mean built in). Another facet of practice with weapons is to practice with them all. We've got to practice with all the Page 1

Benefits of Weapons Training

Professor Tom Hill

I recommend at some point in your martial arts career that you find an opportunity to study a classical weapons style. First talk this over with your sensei. He or she may offer suggestions on where to start and, in any case, it is good protocol to let sensei know this is your intention. I also advise you wait until you've passed at least your shodan exam so you have a good foundation to begin with. The lower boards Danzan Ryu will give you an incredible advantage in understanding the basic mechanics in various weapons styles. Now for some personal comments about studying a classical weapon style. First, many classical Japanese ryu emphasized armed combat. Hand-to-hand fighting was considered secondary. So, much of the ashi waza and tai sabaki used in the hand to hand fighting katas would be based on the movements of those weapons. In training Iaido, Kendo, or Jo, as examples, you learn basic katas while handling the weapon and after many months of practice these movements enable you to glide more gracefully across the floor and develop more power from your lower body. A person versed in one of these styles can easily transfer the movements into a fundamental karate kata. My experience from studying iai is the necessity to move more from my hips. This enables my body to move more efficiently and smoothly across the floor with balance rather than bobbing up and down, which is not as powerful and takes more time. And I can attest that my yawara and nage improved much faster as a result of practicing fundamental movements in iaido. the stance of a major league batter and their cutting motions mimic a series of homerun swings. It could be argued that the person is imitating the movements associated with the use of a double edged broadsword. But my thoughts are that Westerners are more familiar with the batting stance in their younger days which haso kame (kame = stance) resembles. Another benefit of the training is learning to relax. You should relax while doing jujitsu or judo but it becomes more apparent when you are wielding a weapon because of the different muscle groups that are used. The faster I try to cut the more tense I become. But when I relax the shoulders, relax the arms, relax the hands and then relax the grip, except for the three last fingers (tenuchi), I find I can cut more quickly and with more precision than when I tense up. The relaxation learned from using a weapon has transferred easily to my nage. As I enter a throw my movements are smoother and only a small amount of body tension is transferred which means Uke can't read my actions as he or she can when my body is tense. A further part of the training is learning to attack and defend from my center line. It has taken years of practice for me to get close to a perfect center cut because my one hand (usually the right) dominates the other. But more often my cuts are crooked to one side because, again, my arms are too tight, or shoulders are too tight etc., and that directs the sword away from my center. One last reason for learning the katas in a weapon system is that you don't depend upon a partner to practice. With judo and jujitsu katas you need an Uke to train with whereas most weapon katas gives you the opportunity to practice by yourself and outside the dojo. This can be especially beneficial when you have a limited time to train on the mat. Kiai Echo Fall 007 Page 15

...after many months of practice these movements enable you to glide more gracefully across the floor and develop more power from your lower body.

In studying a classical weapons style you also get an appreciation of the weapon as an extension of your body, instead of as a separate object. You also learn the proper method to handle a weapon. No thanks to "Star Wars" and other Hollywood fighting movies, I notice when Westerners get a weapon (usually a sword) in their hands, their body immediately takes on

60th Annual AJJF Convention March 7-9, 2008 Intoku

2008 AJJF 60th National Convention

"INTOKU"

(GOOD DONE IN SECRET)

Representing: THE AJJF & 60 YEARS OF SERVICE

Koichi Tohei, the founder of Ki Aikido enumerates the concept of Intoku as a practice of self enlightenment or as a necessary concept to incorporate into our life's path. This practice of Intoku is the philosophy that guides our "gift giving."

An old Oriental saying tells us, "sow good and the harvest will be good. Sow evil and reap evil." We must understand that everything we do comes back to ourselves. Therefore before wishing for our own happiness and welfare and that of our children, we must do good in secret. To do good in secret means to act without seeking attention and praise, to act without any hope of reward. This is called INTOKU. Among the various ways of performing INTOKU, to walk the way of the universe and to lead others along this way is best. Simply put, in the West, many times when we do good we expect accolades. We say, "here I am, I did it." This secret agenda slows our growth and self-development. True "good" acts are done with a selfless attitude. We can do this best when we are mind and body unified.

Host: High Sierra Jujitsu & Sensei Frank Ferris, Godan Frank's Contact Info:[email protected] /// dojo# (775) 787- 3800 cell# (775) 0-695 Location: Same location as AJJF Convention 00 Chushin, same amenities with similar program. Expect High Sierra Jujitsu's famous hospitality, a clinic full of world-class instructors and a convention with much value added. The team at High Sierra Jujitsu will be sending out timely bulletins that will assist your needs. Do not hesitate to contact us. We WILL get back to you. Call now to confirm your room-base rates at a low $98.00 plus tax. See link for hotel info below. John Ascuaga's Nugget: http://www.janugget.com 1100 Nugget Ave. Sparks, NV 8931 1-800 68-1177

Page 16

Fall 007

Kiai Echo

"Good Done in Secret"

INTOKU

60th Annual AJJF CONVENTION

(Please fill out one registration form for each person attending clinics) Name: AJJF Rank: Street: AJJF #: City/State/Zip: Other: e-mail: Phone: Dojo: Age (Circle One): Jr (15 yrs or less) Adult (16 yrs or more)

In consideration of my (or my child's) participation in the National American Judo & Jujitsu Federation (AJJF) Convention and the efforts of the AJJF, High Sierra Jujitsu, and their members, I, for myself (or my child) and my successors and assignees, hereby release and discharge the instructors, the AJJF, High Sierra Jujitsu,, and all of their officers, employees, agents and servants, of and from any and all claims, demands, and causes of action of whatsoever nature which I (or my child), my successors and assignees, ever may have against any of them from or on account of, by any reason of or arising in connection with the National AJJF Convention and my (or my child's) participation therein. I realize that the practice of martial arts contains an inherent resk of personal injury and I (or my child) hereby assume that risk. I am over 18 or I am the parent or legal guardian of the above named Convention participant. I have read the release and agree accordingly. (Signature required for each participant): X Date:

MAR 7-9, 2008 REGISTRATION

Registration Options for AJJF Convention 2008 Total Convention Package Adult Clinics Fri, Sat, Sun..Banquet..Tee Shirt Junior Clinics Fri, Sat, Sun..Banquet..Tee Shirt Convention Only Registration Adult Clinics Fri, Sat, Sun Junior Clinics Fri, Sat, Sun Adult Daily # of Days X Per Day Junior Daily # of Days X Per Day Banquet Only qty X Per Guest

Before 2/8/01 Before 2/8/01

Cost if Pre-reg

Cost if Pre-reg

& Pre Pay Before 2/15

& Pay At Event

Cost if Register At Event & Pay At Event $185 $135 $165 $115 $90 $60 $55

TOTAL

$150 $110 $130 $90 $70 $50 $55

$170 $120 $150 $100 $85 $55 $55

Tee Shirt Only qty X Per Shirt $20 $20 $20 The AJJF is a non-profit, tax exempt organization. If you wish to make an additional tax deductible donation, please note so here. Your canceled check is your receipt and confirmation of registration. Returned checks will be TOTAL charged $50. Please make check or money order payable to "AJJF Convention 2008" (Do not send cash) Send Registration and Payment to: "AJJF Convention 2008" 2700 Severn Dr. Reno, NV 89503 Banquet Information: Please seat me with the following dojoTee Shirt Sizes: put quantity ordered in each box Adult S M L XL XXL

Inquire about Okazaki Scholarship at www.ajjf.org Persons with a disability requiring accomodations by the hotel please note needed accomodation and submit by 2/08/01.

XXXL

AJJF MEMBERSHIP IS REQUIRED TO ATTEND CLINICS DO NOT ENCLOSE MEMBERSHIP APPLICATIONS, OR RENEWALS, WITH CONVENTION REG. EVENT ONLY MEMBERSHIPS AS WELL AS NEW AND RENEWAL MEMBERSHIPS WILL BE AVAILABLE ON-SITE

Kiai Echo

Fall 007

Page 17

AJJF Business

AJJF Operations Committee Phone Meeting

August 7, 007 School Announcements Lyle Najita has been accepted as the new school head of the Davis Ju Do Kai, in Davis, CA. Website After a few months of intense work, the new website is in the final stages of construction and review. Some information dubbed "out of date" will be removed but the old site will still be accessible through a link. Current and future school heads may wish to seek out helpful advice about starting dojos in a variety of environments. A list of AJJF mentors and their contact information can be found on the website as part of the Dojo Expansion Initiative organized by Kimo Williams. Budget The budget is on track for the year's goals. Events Scott Redden is working on standardizing contest judging. He is in the process of developing one-page summaries of contest rules for the different types of contests (sumo, freestyle, and kata) and creating a judges' certification course. Next Operations Committee phone meeting is December 3rd at 8:00 pm Pacific Time Respectfully submitted, Erin Carlson Operations Committee Secretary

New AJJF Dojos

Shin Wa Kai of Concord, CA. Schoolhead is Dan Linder, Shodan. Seidokan Jujitsu of Sacramento, CA. Schoolhead is Keith Thompson, Sandan.

Black Belt Promotions

Shodan Michael Campbell, a student of Sensei Jannette McGrath from Yama Naka Jujitsu Nathan Clevidence, a student of Sensei Vern Brekke from Ternion Academy Kyle Parker, a student of Sensei Ted Himmah from Gold Country Jujitsu Mike Schmidt, a student of Sensei Frank Ferris from High Sierra Jujitsu Ephraim Schwartz, a student of Sensei Hillary Kaplowitz from Pacific Jujitsu Kai Cierra Wallace, a student of Sensei Vern Brekke from Ternion Academy Nidan Nathalie Chapple, a student of Sensei Hillary Kaplowitz from Pacific Jujitsu Kai Mark Hacker, a student of Sensei Johnny Matijevich from Red Dragon Jujitsu Curtis Honda, a student of Sensei Hillary Kaplowitz from Pacific Jujitsu Kai Cara Parmigiani, as student of Professor Dave Fairfield from Zanshin Jujitsu Robert Rainey, a student of Professor William Randle and Sensei Ed Shatzen from Lawndale Jujitsu Kai Jeremy Schoener, a student of Professor Thomas Hill from SoRyuKan Dojo

Page 18

Fall 007

Kiai Echo

AJJF CENTRAL OFFICE Karen Lollis (800) 850-AJJF (553) (51) 770-6016 (fax) [email protected] ------------------------------------------------AJJF OPERATIONS COMMITTEE Chair, Operations Committee Ed Shatzen 805-376-175 (home) 800-96-369 x730 (work) [email protected] Secretary Erin Carlson 530-759-066 [email protected] National Manager of Communications, Kimo Williams (818) 7-9919 [email protected] Webmaster Tom DeAngelo (610)507-539 (mobile) [email protected] Chair, Marketing Committee Kimo Williams (818) 7-9919 [email protected] Chair, Kiai Echo Stephen R. Balzac (978) 61-81 (home) [email protected] National Manager of Finance Chair, Accounting Committee Matt Bigham (08) 738-1785 (dojo) [email protected]

Chair, Insurance Committee & Sanction Officer

National Manager of Divisions Bob Hodgkin (801) 763-0605 [email protected] Chair, Allied Committee Prof Geoff Lane (530) 895-0781 [email protected] Chair, Clinics and Contests Committee Scott Redden (530) 357-591 [email protected] Chair, Conventions Committee Keith Thompson (530) 750-0571 [email protected] National Manager of Events Chair, Examinations Committee Pete St. Pierre (08) 306-0089 (home) (08) 306-0089 (mobile) [email protected] Chair, Awards Committee Jerold Kunzman [email protected] (08) 3-551 Chair, Event Tracking Committee Richard Howell [email protected] (95) 371-606 -------------------------------------------------AJJF BOARD OF DIRECTORS President & CEO Prof Tom Ball (530) 68-305 [email protected] Vice President Prof Don Cross (51) 683-91 [email protected] Secretary Prof Larry Nolte (51) 77-8190 (home) (51) 535-63 (dojo) [email protected] CFO/Treasurer Prof John Congistre (08) 988-3017 [email protected]

Deputy CFO Matt Bigham (08) 738-1785 (dojo) [email protected] Director of Instruction Administrator of Curriculum Prof Robert Hudson (619) 917-0735 [email protected] Administrator of Internal Relations Prof Geoff Lane (530) 895-0781 [email protected] Prof Jane Carr (530) 378-080 [email protected] Senior Prof Lamar Fisher (530) 35-35 [email protected] Prof Sheryl Hager (530) 3-35 [email protected] Scribe Nerissa Freeman (916) 331-16 [email protected] -----------------------------------------------AJJF BOARD OF PROFESSORS The BOP includes all Professors in the BOD along with the following officers and additional professors: Senior Professor Prof Lamar Fisher (530) 35-35 [email protected] Prof Rory Rebmann (95) 373-967 [email protected] Prof Tom Jenkins [email protected] Prof Dennis J. Estes (707) 1-105 [email protected] Prof Tom Hill 570-99-6939 [email protected] Prof Tom Ryan (803) 791-076 [email protected]

Kathie Himmah (530) 677-0705 jujitsunek[email protected] Chair, Travel Committee Chris Pritchard (760) 8-80 (home) [email protected]

Chair, Accounting & Budget Officer Nancy Bigham (08) 738-1785 [email protected]

Kiai Echo

Fall 007

Page 19

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