5 comments about Lessons from the Art of Kempo: Subtle and Effective Self Defense.

1. Kempo is a passion of mine that has not abated in the fourteen years I have been practicing it. In my continuing quest for more knowledge I have tried to learn everything that I could on the subject. After reading numerous books on Kempo and other martial arts books with discussions of Kempo, I find that my favorite martial arts book is "Lessons from the Art of Kempo." This book in a straightforward and useable way lays out REAL Kempo--not what you see in the movies or the useless open hand waving movements that some have tried to pass off as Kempo. Lessons from the Art of Kempo shows you the fundamentals of REAL Kempo and how to apply them. Even after practicing Kempo for years, I still find this book has strong meaning and appeal for me. I enthusiatically recommend this book not only to others with a passion for learning Kempo, but for anyone who wants to learn about the REAL art of Kempo.



2. Kempo is the "fist way" as shown in Lessons From The Art Of Kempo by Fred Neff. Too many books that claim to be on kempo are nothing more than a collection of flashy movements that are impractical and have no usefulness in a real fight. Lessons From The Art Of Kempo gets down to what you need to know and need to do in order to win a fight. It shows conditioning exercises, how to position your body in a fight, how to hit, where to hit and winning strategies. I like Lessons From The Art Of Kempo because it is reality based and does not waste space on flashy movements that have no value and are a waste of time to anyone serious about self-defense. If you want to learn to fight better and--more importantly--smart, a good first step is to read this outstanding book on kempo written by Fred Neff.



3. I am an avid student of Asian history and martial arts. For the last 12 years I have made a study of Asian fighting strategies such as described in Sun Tzu's masterpiece "Sun Tzu Bingfa" ("The Art of War"), which is the definitive work on strategy and Miyamoto Musashi's "Book of Five Rings." In "Lessons from the Art of Kempo" Neff has done an excellent job making practical use of Asian strategic fighting considerations. Chapter 12 of Neff's book on kempo strategy very favorably impresses me. This chapter includes principles from Sun Tzu, Miyamoto Musashi and others. The net effect of Neff's book kempo is that complex principles of strategy have been condensed into workable and usable ways for people to defend themselves. I applaud this book's easy to read straight forward manner. I highly recommend "Lessons from the Art of Kempo" by Fred Neff to anyone. It earns my most enthusiastic 5 star rating.



4. "Kempo is an art of philosophy, physical culture, and self-defense that develops the body, mind, and spirit. It includes meditation, punching, striking, kicking, throwing, and locking techniques. Also included are dodges, blocks, and sticking techniques for tying up an opponent with his or her own arms. Kempo moves are both linear and circular, allowing for a smooth flow of action from soft to hard movement. There is a continuity of action that make it exhilarating to practice, irresistible to watch, and difficult to defend against."
   
   "Ultimate aim of kempo practioners is not only to grow in power, but to improve themselves and learn to live in harmony with others. Kempo teaches not only how to efficiently protect yourself, but also how to flexibly combine techniques in smooth, free-flowing action that seems almost effortless to the viewer."
   
   Kempo principles: 1. Don't worry, instead focus on the solution. The byproduct of relaxation and comfort is the path to finding solutions. 2. You can do whatever you believe is possible. 3. Use your opponent's actions against him or her. Any action creates a weakness or an opening for counterattack. Even an opponent's strength can be manipulate and turn it to your advantage. 4. Concentrate on what you do well 5. Be flexible in your approach. Learn to use techniques that will work in a situation and discard anything that will not. A Kempo practitioner learns to expect the unexpected, and varies the self-defense to fit the situation. 6. Preserve. Fighting is not about show but perseverance to survive and win. 7. Dedicate yourself to continual self-improvement. The quality of your training determines the success of failure. Kempo philosophy teaches that knowledge is endless. Practitioners of kempo never become conceited because they know that kemp is an endless way. 8. Take advantage in adversity. Every crisis has two elements: danger and opportunity. If you do not despair, if you see the opportunity and work hard to overcome the difficulty, you will gain from every experience. You must overcome the feeling of doubt caused from self-seeking validation. A kempo practitioner stands alone in his skills. 9. Try to live in harmony with nature and its ways. Unity of action creates harmony and strength.
   
   Stances: Natural Stance, Back Stance or Cat Stance, Front Stance (R or L Cover), Horse Stance, Reverse Cover
   
   Hand positions: low guard, Mid guard, high guard (preferred)
   
   Foot patterns: slide step (shuffle), step 45 degrees, side step, circle step, cross over (forward and back), and half turn (crescent step).
   
   Blocks: Inward block, Outward block, downward block, upward block, upper and lower block, and fan block (parry and chop or parry and simultaneous backfist)
   
   C1: L knife block, R vertical punch to solar plexus
   C2: L knife block, L punch to the bridge of nose
   C3: R cover, step forward R punch to groin (opponent left downward block), R backfist to face (R upward block), R grab and pull down trapping opponents L arm over R arm, finish with L punch to face.
   C4 : Opponent throws a L and R punch. From a R cover, left outward block, grab, and pull and R outward block the opponents R punch, grab and cross Opponents R over L arm, finish with a L uppercut to the opponents R ribs.
   C5: R cover, R rear kick plant back, L and R punch
   C6: R cover, L front snap kick, R side kick thrust
   C7: R cover, shuffle forward, L backfist, half step CC, R punch, R sweep kick to the legs
   C8, R cover, L punch, L backfist, R punch
   C9: R cover, L side kick, R round kick
   C10: L cover, R backfist, left cross behind towards opponent, step behind, two hand sweep the opponent over the R knee
   C11: L cover, L side kick, R round kick, L spinning backkick.
   C12: R cover, L front snap kick, spinning R back kick
   C13: R cover, L outward block, shuffle, R uppercut, L punch
   
   Basic strategies:
   1. Keep calm
   2. Use your mind. Fight intelligently. Fight passionately. Feel the power and speed of the technique without thought. Fight with an empty mind. Fight without fighting.
   3. Control the situation. Try to maneuver into a place where you can best take advantage of your skills and strengths. Close the gaps and Fight in close and decrease the chances the opponent will kick you from a distance systematically. Do fight for show or flash. Fancy techniques are abandoned as injury and risk increases. Use what works.
   4. Watch the opponent's actions. Watch for the signals an attack is coming. Don't be presumptuous about the opponent's abilities or inabilities. Watch for shifts in weight that indicate the opponent is preparing to kick. Take the simple technique for protection, such as an inward block. An inward block by itself can break bones in the forearm. Less is more.
   5. Consider range in select a technique. Be care not too seek demonstration of skill but think about why the technique will work and what gates it will open. The flow into the gate should be natural and predictable. Find the obvious opening.
   6. Disrupt the opponent balance. The best technique is always to put the opponent on the ground on his back. This is the most vulnerable position to be in for the opponent.
   7. Use movement as a defensive weapon.
   8. Keep the techniques simple
   9. Use the element of surprise.



5. Fred Neff wrote Lessons from the Art of Kempo, a book that is as much about a philosophy of life as it is about a martial art. According to the author, "the ultimate aim of Kempo practitioners is not only to grow in power, but to improve themselves and learn to live in harmony with others." Kempo, as explained by Fred Neff, is a beautiful method of harnessing a person's abilities to be in tune with nature. The author says, "Kempo teaches not only how to efficiently protect yourself, but also how to flexibly combine techniques in a smooth free flowing action that seems almost effortless to the viewer." The book explains Kempo as a form of continuous energy that changes as it flows. The Kempo practitioner's goal is to strive to perform in such a manner as to promote harmony. Implicit within Fred Neff's book is the message that energy can move in a linear manner, at an angle or a circular manner. While Lessons From The Art of Kempo shows linear and angular moves there is a definite underlying emphasis on softer circular movements that do not directly oppose force, but rather redirect it. The Kempo book has clear explanations and photo illustrations that make learning easier and more enjoyable. Consistent with the book's philosophic leanings that emphasize the use of the mind is the chapter on "Effective Kempo Strategy." The lessons on strategic approaches to the use of Kempo are easy to understand, practical and further solidify in the reader's mind potential uses of the fighting moves taught earlier in the book. Fred Neff's Lessons From The Art of Kempo is a thinking person's martial art book that transcends just teaching how to fight to that of a holistic approach to improving oneself through the study and practice of the Art of Kempo. The book's point that a Kempo practitioner should strive toward developing harmony with nature and other people is a positive social concept that appears consistent with the author's own approach. The author Fred Neff has done extensive community work as a teacher and lawyer, which has resulted in his receiving the city of St. Paul Citizen of the Month Award, a Commendation from the Sibley County Attorney's Office, the WCCO Good Neighbor Award, The HLS Justice Award, Lamp of Knowledge Award From The Twin Cities Lawyers Guild and the Presidential Medal of Merit. Fred Neff's Lessons from the Art of Kempo is a gem of a book that I very strongly recommend.

1 comments about Koga Ryu Ninjutsu: The Ancient Art of Stealth and Strategy.

1. Koga-ryu Ninjutsu is full of history and introduces you to a few secrets that I have not found in any other books on the subect...for instance karumijutsu, the body lightening art. This book is by no means a comprehensive manual to teach you everything about ninjutsu, but it will give you a foundation to point you in the right direction of some aspects of this little known art.

No comments about Chinese Kara-Ho Kempo: Secrets of Ki and Internal Power.

1 comments about A Breath Of Fresh Air: Kempo Karate Novice to Intermediate.

1. This book is the best book ive read in a long long time on kempo karate. The sequences are easy to follow and make up fantastic self defense routines
   
   It's well worth the money! I recommend it!

No comments about Renzoku Ken: Combat Combinations of Kempo.

No comments about What is Shorinji Kempo?.

4 comments about Chinese Kara-Ho Kempo: Fundamental Practice and Techniques.

1. 2 stars is earned by the unique historical information on Prof. Chow in Ch. 1. Obviously, I am unable to make comments on his art. Detailed history would get 5 stars. Ch. 2-3 is about stretching, stances, and a plug for pills. Yawn. The photos include complete bodies. The captions seldom describe form rather than function. Yawn. There are more pictures of conditioning and leaping high kicks than anything else. That's acrobatics, not street fighting. There are many pictures of a female holding a foot high in the air. This looks like a book about tournament-oriented kickboxing.

   Then, there's the touchy subject of mastery. Ok. Here's the fishy part. How does one secure a promotion from 1st degree black belt to 5th degree in two years (1978-80, plus his training with Chow from age 18-21) and then to 9th degree in four years, 1978-1984? Mastery takes a long time. Hand out grades do not. Kuoha writes that he was training remotely because he visited Chow weeks at a time. He insults all of the schools in California and doesn't mention a training partner in California. So, unless he names his training situation in California, we can only assume solo practice. In one chapter, Kuoha writes that these training sessions were 14-15 hrs/day. In another, 15-16 hrs/day. Didn't he check his own book? Also, he states that he medically retired from the police force and then renewed his studies with Chow. How does someone so physically-challenged manage to train hard core martial arts? This makes little sense to me. This situation deserves a more detailed explanation to rescue it from a a Grand Canyon in credibility.

   Kuoha should write a detailed book on Kempo, specifically the training methods and demeanor of Chow. Little is written on the life of this Hawaiian pioneer. I bet Kuoha has a *lot* to offer, but it's not in this book.




2. I missed the one page on Sam's training partners, mostly because the photo of his ice-breaking stunt was a real turnoff. The author should have written that he studied a number of non-Kenpo arts and trained with proficient partners. One line reads that he collected black belts in several other arts. The more I read, the fishier it gets. Kuoha will have to write a detailed chronicle of his training to explain his lineage. Right now, it appears that he has difficulty explaining how he inherited the top position of Chow's organization with a few years of off-site training.

   After reading the book several times, I'm still left with the impression that Kuoha really needs a show to promote Chow's art. Somehow, I get the impression that the pressures of commercialism are great on the shoulders of Kuoha. Perhaps it's time to leave Kenpo and move on to disco karate.




3. This may not be the best book, on telling you how to appropriately master this particular style of martial art, but it does have cute ka'imi kuoha, and her sexy feet, in it!......



4. While nothing can replace a good instructor in learning martial arts (there is more to learning any art than simply the mechanics of how to do the moves), this book does a good job in covering the basics of any good martial art; stretching, conditioning, strikes and kicks. In addition, it provides a good history of the Kara-ho system. The conditioning goes beyond warm up and provides effective exercises that enhance fighting performance. The strikes and kicks are presented in pratical terms of how they are used (application). The only I would have liked to see more of is the techniques of Kara-Ho which make it such a devastatingly effective martial art.

5 comments about Mastering Kempo.

1. I found this book to be a very interesting and informative look at the art of Kempo. The author presents information in a refreshingly unbiased, down to earth manner which is very easy to read and digest. While this book will by no means teach you Kempo (it focuses more on the WHY than the HOW), I have found it to be an excellent addition to my lessons. Many of the ideas in the book will blend well into any form of Kempo, and probably other arts as well. The author presents many interesting and effective ideas on training, both physical and mental, as well as loads of interesting history. The only complaint I could possibly make is that I wanted to read MORE when I finished! I hope the author chooses to expand the information presented here in future volumes.



2. A special method of Kempo training origins during class called "Embu". Embu is extremely efficient way of teaching students how to apply their skills in actual combat while avoiding the contentiousness nature of sparring. Sparring is not the traditional method for teaching martial arts. The purpose of sparring to teach speed, distance, rythm, and timing. However, the end results of sparring while not create the desired quality and deep understanding of the art.

   Anciently, the fighting monks practiced kempo to improve personal security against bandits. It is very doubtful these monks would have engaged in actual fighting to practice the martial art. Monks regarded injury to an another human being as unacceptable. Often after a real confrontation, they would administer relief to the injuried attackers, when possible. The monks sought peace and esteemed themselves as pacifist. So, how did they obtain fighting skills second to none?

   The monks practiced kempo using the philosophy called embu. Embu in Japanese means "Martial exercise." The first Embu method has two partner moving simulateously, without any prearrange techniques. They move softly and slowly maintaining safety. The one punch pull is required to avoid contact and serious injury. The flow between defense and offense is expressed during the exercise. To the viewer, it seems like the practitioners are engaged in a dance: weaving, entering, blocking, and striking. The use of hand and foot skills is encouraged. As the skill levels increase, vitals areas become the pin point targets. Embu should appear effortless and direct.

   The second embu method requires coreograph or a set of moves to be practiced. A group of four students work together with one student defending against the other three. Each student has a set of moves to perform, whether it be an attack or an defense. As students masters the old movements they can begin to create new movements. The new movements usually are created after a few years of study with the teacher. At first the student learns how to perform each movement. The movements are practice slowly at first, and the speed increased as their skill improves. Eventually, the practice increases in speed and power. The attacking students measure their response after each defense technique is performed by the defending student. The flow of motion can increase in speed and power until it closely approximates real combative environments. The one inch pull punch or kick is encouraged, to avoid serious injury, and allow for continueous training. If injury starts to occur during training, students are required to examine levels of control, slow the techniques down, and apply an softer application of the technique.

   Eventually, the subtle mysteries of the technique are revealed, and as the student reflects on the technique a vast range of application are realized: joint turns, throws, cavity presses, blocks, strikes can be seen in the technique. Additionally, the use of chi and mental focus changes the techniques consequences. Kempo real power is understanding vital points and how mental focus increase the effectiveness of the strikes and block. The most powerful material breakers are often practitioners of kempo. Softer and more penetrating potential is realized by the defending student. The student begins to visual the physical consequences resulting from each techniques. The degree of reflection depends on the understanding of the student and their perspectiviness. Students are required to reflect on their practice and work together to improve each others perfection.

   Kempo techniques are expanded to use grappling. Anciently and modernly, Chin na expresses itself within the philosophy of kempo. Throws, chokes, joint locks put the receiver down. Finishing strikes can be apply allowing the practitioner to clear the oppponent before moving to the next attacker.

   During practice Kempo trains against a vast variety of weapons: knives, clubs, staff, sword, and hand to hand. Embu philosophy still applies regardless of the attack pattern and type. The goal is to blend and work harmously and effortless against a wide range of spacial patterns. Position, speed, power, and feel are developed during practice.

   Embu does not encourage aggression. It allows realistic self-defense training. The result is a stronger feeling of calmness and control by the student. More importantly it enourages cooperation and control through a heighten sense of awareness. Movement can flow from one attacker to another, awareness of how space can be occuppied is anticipated. Vulnerabilities become traps with counters, locks, and strikes responding. In Kempo, embu is essential to proper training and development.




3. I like this book and would recomend it. However I was hoping for more kata than what they gave in this book. It is great for learning blocks, kicks, and punches, but not much else



4. I'd actually like to give the book ***1/2, but I figure since they only allow whole numbers, I'll round down. Much can be learned from this book, of you are a begginer, or practice another Asian fighting form. Particularly, I like the explaination of Embu, and the principles behind Kempo's fluid striking combos. One thing that caught my eye is how the author always tried to link Chinese, Okinawan, and Japanese martial history, ephasising Okinawan. I'm no historian, and though I doubt the links were as close as presented, it did pique my interest in seeing how accurate the history was, and has therefore opened my eyes to Karate/Kung-Fu/Kempo history. Some basic striking techniques are presented, but the bulk of the book is not "how to do a front punch", it is "do this to make any strike more effective". I dislike, however, that the author seems to call every Asian art Kempo, including Jeet Kune Do. Overall, the book is good to read, but mostly for the "art/philosophy/history" types. Folks interested in sport or protection would do better to look elsewhere.



5. Having been a huge fan of Bill Durbin's many articles published in the various martial arts magazines during the 1990s, I was really excited to see another book out by him. What I have always enjoyed about his writing is that he provides an incredibly well researched historical background on the various topics, in addition to the technical/technique information. So many modern "martial arts" are so far removed from their historical lineages that few people truly understand where true martial arts (combat arts) came from and how the training originally happened. While there are some great MA history books out there (Draeger et al), all the emphasis on modern sport fighting/competition has really muddied the traditional true martial arts water, so to speak. Durbin seems to be a true traditionalist, and always backs up his theories with historical fact, which I appreciate very much; a nice breath of fresh air and a change from the "just do it this way bcause that's the way we've always done it" mentality of many MA systems. While it's true that this book is not even remotely a comprehensive kempo instruction manual, it IS a solid insght into the basic foundation of kempo in it's historical, combat-oriented context. I highly recommend it, and encourage anyone interested in books of this nature to see if they can locate and/or download any of his past articles (I have about 60 of them, and I know there were some that I didn't get) from magazines like Black Belt, and Karate/Kung Fu Illustrated.

3 comments about Okinawan Kempo.

1. This was the second of what are now 4 special edition reprints of older karate books issued by Master Publication of Canada, run by Don Warrener (Goju). Although this edition of Karate pioneer Motobu, Choki's book is useful and should a part of any historical karate collection, there are several issues which anyone wishing to purchase this edition should be aware of.

   The photos have been retouched, severely. Most of what you will see are not reproductions from an original text, but apparently paint or charcoal reproductions (or extreme enhancements, if you will) of the photos from an earlier edition. I found these no more difficult to understand than photos in earier reprints, although some of the ambiance is lost. This Masters Publications "translation" bears a striking resemblence to the English translation put out nearly twenty years before by Okinawa Karate teacher Oyata, Seiyu in 1977("Okinawa Kempo: Karate-Jutsu on Kumite"). Comparing the two texts sentence by sentence, I could not help feeling that the Masters Publications "translation" was simply lifted from Oyata's earlier work, although neither Oyata nor any other translator is credited with this book's work, unlike other volumes in this series. I also found it odd that Masters Publications was not able to translate into common pharmacological terms the exact same herbs Oyata left untranslated. Certainly a professional with today's resources would have had better luck?

   Although This newer edition is beautiful (cloth covered boards, cloth covered box, dust jacket, etc.), I must admit that I treasure more the unretouched little booklet translated by Oyata in 1977. For an English translation of Motobu, Choki's OTHER book, contact Patrick McCarthy of the International Ryukyu Karate Research Society.




2. If you're interested in true martial art, the art of war, you should buy this book. Don't pay attention to the quality of the photos and don't forget any detail.
   Enjoy!



3. The work of Choki Motobu is very intersting, but the comments of the editor are not sufficient. The predominent part of the book shows only one charcoat figure on one page and a few words on the other page. There are no words about the basis of Motobus interpretation of Okinawan Karate. In the figures he shows a lot of sequences out of the kata naihanchi ( shodan, nidan, sandan) and some sequence of the Bubushi. He shows atacks to kKyusho points very exactly. But there is no explanation of the new editor, no comment. People who dont know the backround of the special content of Motobus techniques cannot understand the book.
   H,Kogel M.D., Professor of surgery, 5th Dan Karate ,Kobudo Renshi, Reg.Dir.IMAF Kokusai Budoin

5 comments about Advanced Pressure Point Fighting of Ryukyu Kempo: Dillman Theory for All Systems Point Fighting.

1. The reviewer below is an uninformed moron. I have attended several of Mr. Dillman's seminars and have had many of the knockouts described in the book performed on me personally. I am a trained scientist and biologist who is not fooled by hocus-pocus mystical nonsense. Anyone who is a doubter need only attend one of Mr. Dillman's seminars. NO ONE goes home an unbeliever. The methods outlined in this book DO work. This book is THE book to get on pressure point karate!! I have gone back to it so many times my copy is almost worn out.



2. God knows I wouldn't claim my experience to be either exhaustive or authoritative, but of the two times I've knocked someone out, one was with a pressure point. I didn't know it at the time. I just knew that I had barely touched the guy with my kick, just inflicting a very light, barely noticeable on my end, "thump." But the location I hit him at was pretty clear, and imagine my surprise years later to learn that there is a knock-out point at that location. (The other time I knocked someone out was with a pugil stick during Marine Corps bayonet training.)
   
   In addition, years ago I spent a few months--regrettably did not get to spend more--training with some Ryukyu Kempo people. I experienced the tuite techniques--many of which rely on the pressure points and hyperextension of the nerves for their effectiveness--and found them effective.
   
   For those who suggest that cooperation is required on the part of the person getting the technique performed on them, no doubt that is what it looks like in a demonstration. It is a demonstration, after all, not a fight. And it is surely true that application of these techniques is more difficult in a fight than in a demonstration, but that is true of just about any technique, isn't it? The answer to that problem is the same as it has always been--practice.
   
   As far as the lack of these techniques in the UFC proving their ineffectiveness, all I can say is that in the limited amount of UFC-watching that I have done, I didn't see any dangling eyeballs from eye gouges; I didn't see any crushed tracheas; I didn't see any snapped fingers, ripped-off ears, or any biting, or anyone pick up a bludgeon. Nor did I want to; the point is that poking eyes, jamming fingers into the windpipe, twisting or biting ears, or even use of weapons are all proven combat-effective techniques, and they appear to be absent from UFC competition.
   
   God knows I wouldn't want to climb into the ring with one of those guys; they are all obviously much fitter and stronger than I am. But it is a mistake to conclude that because two big, strong, guys step into a ring to do some combined kickboxing and grappling that only their techniques are effective in ordinary self-defense situations.



3. The contents of the book is accurate as far as I can tell. I am also a follower of pressure point fighting, BUT I felt that this book contained a lot of practically irrelevant pressure points.
   The book can help you to advance your technique and to add some points into your list of targets, but you need to read selectively. Example: The upper lip "is not a hit point. Rather it is a rub-point". I would not bother to rub an upper lip if I can turn the nose into bloody mud. This book advocates a soft style of fighting, which depending on where you expect to fight, might not be the most effective way. The other issue is, that an attacker will hardly wait and pause to allow you to hit his pressure point accurately. Most of these points are farily small areas and difficult to hit.
   Therefore, I think the contents is accurate, but only a small portion might be useable.



4. 
   
   It has been said that "Nothing is EVERYTHING but everything is SOMETHING". This book is another piece in the puzzle of understanding martial technique.
   
   I have trained with Mr. Dillman on numerous occasions. I was initially very skeptical of his technique and his flamboyant personality did little to allay my suspicions. My first impression was that his technique was unlikely to be effective. I have since been dazed or knocked out by him on several occasions. I can attest that many of his pressure point techniques are extremely effective.
   
   I do not think that pressure point fighting should be the core aspect of a system, but it certainly helps improve the effectiveness of technique.
   
   I have seen and used his pressure point techniques. They knock some people out cold and others seem unaffected at all. I have experimented with using students who have no idea I am about to do a pressure point technique. The power of suggestion or "willingness to be knocked out" does not seem to be a big factor on whether or not a move works.
   
   Simply stated, it works on some people but not on everyone. I am not going to make pressure point fighting the foundation of my fighting system, but it is certainly going to be one of the building blocks.
   
   This book suffers the same shortcomings as almost all martial art instruction books. Video is really a better media for such information. Still, I would recommend all serious martial artists examine Dilman's contributions to the martial arts community.
   
   I think his greatest service to the world of martial arts is that he has made many people aware that many arts have lost key combat applications of traditional technique.



5. YouTube & wikipedia George Dillman and you'll see & hear his bizarre explanations why his techniques fail on non cooperating volunteers.
   
   This book belongs on the same shelf as Lord of The Ring. Anyone that thinks that an agressor will slowly walk up to you and allow you to do these dubious poky attacks, will wind up injured or may be even dead.
   
   If you're unable to train in a realistic fighting art, spend your $$$ on a Krav Maga book or a good pair of sneakers. At least both are proven effective defensive mechanisms.