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FEBRUARY 1986 Vol.19, No. 2

About the Cover. Shotokan black belt Jim Mather agreed to demonstrate a devas­tating karate punch for KKI photographer Art Foxall at Rainbow's photo studio. Don't worry, Mather pulled his punch at the last minute. Cover design by Harry Sherman.

DISCLAIMER RAINBOW PUBLICATIONS, INC., as a publisher, does not

endorse and makes no representation, warranty or guarantee concerning the safety or effectiveness of either the products and services advertised In this magazine or the martial arts or other techniques discussed or illustrated In this magazine. The publisher expressly disclaims any and all liability relating to the manufacture, sale or use of such products and services and the application of the techniques discussed or illustrated In this magazine. The purchase or use of some of the prod­ucts, services or techniques advertised or discussed in this magazine may be illegal in some areas of the Uhited States or other countries. Therefore, you should check federal, state, and local laws prior to your purchase or use of these products, services or techniques. The publisher makes no representa­tion or warranty concerning the legality of the purchase or use of these products, services or techniques in the United States or elsewhere.

Because of the nature of some of the products, services and techniques advertised or discussed in this magazine, you should consult a physician before using these products or ser­vices or applying these techniques.

Publisher Michael James

Assistant Publisher Geri Simon

Executive Editor Loren Franck

Art Director Harry Sherman

Copy Editor Jack Vaughn Photographer Art Foxall Typography

Deborah R. Brown Advertising

Barbara Lessard Customer Service

Biille Voss Circulation

Mercy Caudlllo Editorial Consultants

Jane Hallander Julie Meyers

Contributing Editors Graelela Casllias

Pat McCarthy Julie Meyers Yu Jia-MIng Scott Wong

Contributors Eric Chen

Mike Replogle Hebro Tapato Steve Wong

FEATURES mm 22 JAPAN'S ONE-PUNCH KILL—Final ly, after many years of secrecy, one

of Japan's fiercest blows is revealed. But do you fiave wfiat it takes to use it ef-fectiveiy? Now's your ctiance to find out.

27 KUNG FU? KARATE? TAE KWON DO? NO MATTER WHAT YOUR S T Y L E , YOU NEED THE THEORY O F ANGULAR A T T A C K - A s ail true martial ar­t ists know, it takes more than a few punches and kicks to win a fight. Here's how to get a winning angle on opponent.

32 THE SAMURAI ARE COMING! IF YOU CAN'T BEAT 'EM YOU BETTER LEARN lAIDO—The ancient Japanese art of drawing the samurai sword from its scabbard, iaido is quickiy becoming popular with today's fighters.

44 HAPKIDO FORMS: YOU SAY THERE'S NO SUCH THING? THERE IS NOW—Even though the Korean f ighting art of hapkido has no set forms, some of the art's innovators are including forms in their t ra in ing—with astonishing results.

50 15 WAYS TO KICK A MAN IN THE G R O I N - l f you've been too shy to learn groin kicks, which include some of karate's most deadly and painful moves, here's an easy-to-follow prescription that's guaranteed to lay any oppo­nent out.

67 WHEN THE TOUGH GET GOING, THEY TRY WUSHU FIGHTING S E T S — N o t e d wushu practitioner Eric Chen gives you the inside scoop on his Chinese art's f ighting techniques. The moves are fiashy and win applause at tournaments. But do they really work?

SPORT KARATE 62 THE PKL'S GLENN HART: TOUGH ANSWERS TO SOME TOUGH

QUESTIONS—Professional Karate League ratings chief Glenn Hart took tourna­ment ratings over from KKI almost a year ago. But has Hart been successful?

71 S . HENRY CHO'S 1986 ALL-AMERICAN OPEN CHAMPIONSHIPS —Catch the high-flying action from New York City's fVladison Square Garden,

72 THE U.S. WORLD KARATE CHAMPIONSHIPS -The competit ion was tough, but the rewards were high.

DEPARTMENTS 7 Editorial—Who are karate's biggest

superstars? 8 Counterkicks— Hot debate over common-

sense kicks. 10 Japanese Traditions—What kata really

meant to the Japanese masters, 12 Chinese Traditions—Benefits of kung fu

discipleship, 13 The Warrior's Weapon—A fresh look at

the Chinese broadsword.

16 Casiilas' Corner—Is commercialism ruining the martial arts?

18 Survive!—What every martial artist should know about self-defense,

20 The Shaoiin Way—What's new in choy 11 fut kung fu?

76 Dojo Directory— Pick a martial arts school,

77 Special Reader Survey—Tell us what you want!

KARATE/KUNG FU ILLUSTRATED-ISSN 0888-031X—magazine is published monthly by Rainbow Publications, Inc. Editorial, advertising and circulation offices at 1813 Victory Place, P.O. Box 7728, Burbank, CA 91510-7728. Second-class postage paid Burbank, CA, and additional post offices. Postmaster send form 3579 to Rainbow Publications, inc., P.O. Box 7728, Burbank, CA 91510-7728. Telephone: (818) 843-4444 or (213) 849-2181. Consultants: Uyehara Management inc., 1314 S. King Street, Suite 520, Honolulu, HI 96814. Subscription rates in the United States are one year (12 issues), SI 9.50; two years, $39.00. (Foreign coutries add $4.00 per year for postage.) The publisher and editors will not be responsible for unsolicited material. Manuscripts and photographs must be accompanied by a stamped, self-addressed envelope. Printed in the United States by Foote and Davles, Lincoln, NB. Copyright ©1987 by Rainbow Publications, inc. Ail rights reserved. Reproduction without permission Is strictly prohibited.

Photos by Nathanial Dearborn

Fariborz Azhakh demonstrates one of his improvised hapkido forms. He starts from a ready position and makes a triangie with his hands, which he raises slowly (1). Azhakh then pivots to his left and chambers a basic low block (2), after which he drops down on his forward knee and executes it (3).

44 KARATE/KUNG-FU ILLUSTRATED/FEBRUARY 1987

Continuing the kata, Azhakh does a reverse punch immediately after the block (4). With his left hand, he throws a spearhand strike (5), foilowed by a flicking hand strike (6).

it 's a typically warm and sunny day In Souttiern California, the kind that lures thousands of people to the beaches to bask in the sun. it 's definitely not the kind of day you would spend Indoors, out of the reach of those golden rays.

So It comes as a surprise to walk Into a crowded college gymnasium, with fans, friends and family call ing out their encouragement, despite the debilitat­ing heat, as competi tors do their best to capture that often elusive first-place trophy.

Welcome to the world of Southern California martial arts tournaments.

Kata (forms) competitors come In ail sizes, shapes and ages, each bringing his own personality and styl istic fiair to the event. Hard, crisp punches and kicks; soft, f lowing arm and leg move­ments; weapons, long and short, snap and glitter as the competitors put It all on the line for the judges' favors.

Hapkido Forms Pioneer Hearing his name called for black

belt kata, a young competitor rises from the sidelines and strides Into the ring. Courteously approaching the judges, he presents himself wi th assurance and, stepping back several paces, prepares to perform his kata.

His bearing and confidence having

captured the attention of audience and judges alike, he begins to f low through the movements of his form. Crisp, sharp kicks; f luid hand motions; low stances and Intense concentrat ion Impress the audience as he f ights off one unseen op­ponent after the other. The judges are attentive, drawn Into the performance. The kata concludes, and everyone pres­ent Is aware that they have seen an ex­ceptional performance.

No Set Patterns What the audience Is probably not

aware of is that the performance was in­dividual, unplanned and unrehearsed. They just witnessed an Improvised kata by Fariborz Azhakh, a Southern Califor­nia tournament competitor and hapkido instructor.

Hapkido means " the way of coordi­nated power." The Korean art has no set pattern of movement, combining the punching and kicking of tae kwon do with the manipulat ions of alkldo to ob­tain movement that Is neither "ha rd " nor "sof t , " and not set In kata.

So how can someone compete In kata, using a style that has no kata and that tradit ionally does not teach kata or even tournament competi t ion?

"I 'm going against the t radi t ion," Az­hakh says, " i see how you can apply the

principles of no-set patterns, especially In compet i t ion. For example, when you start the musical forms, if you have a set pattern, you have to go f ind music that f its your form, i like to have a form that f its the music."

Kata competi t ion has become an ex­pression of Individuali ty—of one's per­sonal abil ity to execute movements In a fashion that makes them practical, yet aesthetic. Strict tradit ional kata In com­petit ion has given way to kata that suits the special abil i t ies of Individual com­petitors to give them a better chance of winning tournaments.

Test of Freedom Improvlsat lonai (unrehearsed or

spontaneous) kata Is a true test of the martial art ist 's abil i ty to apply martial art movements creatively and practical­ly, improvlsatlonai kata Is actually a form of free exercise, training the mar­tial artist to adapt to any given situation without a set pattern of movement—the epi tome of the hapkido concept of free­dom of movement. And It was precisely this freedom of movement that first at­tracted Azhakh to hapkido.

Born In Iran, he grew up In a culture quite different from that which the aver­age North American Is familiar. As Az­hakh recalls, "The way i was brought up.

FEBRUARY 1987/KARATE/KUNG-FU ILLUSTRATED 45

Still continuing the same kata, Azhakh slows it down and moves his left hand into a slow, tense ridgehand position (7). From there, he chambers another low block (8), and this time, while standing, snaps it sharply over his leading leg (9).

HAPKDO FORMS we didn't have so many things to do like we have here. Everything is program­med in Iran."

Starting his training in shotokan ka­rate, Azhakh soon found the style too restrictive for his tastes, and further restrictions were not something he was looking for. Moving to the U.S., Azhakh found hapkido.lt suited his individuality and allowed him the freedom to grow as a martial artist. " If a reverse punch in a Japanese style is strong," Azhakh says, "then I'll use it. If there is a flowery kung fu move that I like, I'll take it. That's what I like about hapkido-its freedom of style and practicality."

Presentation " From the first t ime the judges call

you, " says Azhakh, "you are being judg­ed. Therefore, walk on that floor like you own it. Direct everyone's attention to you."

Basics " If you are competing, " Azhakh ex­

plains, "basics are the most important thing. "

Forms competitions have become quite sophisticated in the last few years, with increasing variations of traditional techniques and plenty of exotic addi­tions. Competitors strive to choreo­graph forms that will show off their best abilities, but best does not necessarily mean the fanciest. Flashy techniques may catch some immediate attention, but they must be backed by sound ba­sics to win.

Emotional Involvement The martial arts are fighting arts. As

such, their application, and especially their forms of competition, must stress fighting. " For me to win, " states Az­hakh, " I've got to get emotionally in­volved. And the only way I'm going to do that is by visualizing I'm fighting some-one."

By visualizing an opponent for every technique, you can create your own emotional involvement in the form, and emotions are what people best relate to

Certainty and confidence, important tools of the trade for a martial artist, are no less important in competition than they are ir'l daily life. Certainty and self­confidence can stop a fight before it happens and can mark a winner before he steps into the ring. I on a personal level. "Even though a lot

46 KARATE/KUNG·FU ILLUSTRATED/FEBRUARY 1987

of judges don't know me and don't know what I do," Azhakh emphasizes, "they see that I'm emotionally involved, so they get involved. They see me fight someone and that gets them excited. That's how I score."

As a tournament competitor Azhakh is an innovator. He seems to go against tradition in the attempt to apply tradi­tion in a modern context and prove its workability.

But the martial arts go far beyond tournament competition, and freedom of movement applies to the martial arts in other ways besides kata competition. As a hapkido instructor, Azhakh encour· ages his students to look at other mar­tial arts. By understanding and appreci­ating hard and soft styles, by experienc­ing movement beyond the scope of "regular" classes, the student is better able to understand the basics of move­ment and apply them freely.

Knowledge leads to freedom, wheth­er freedom of movement or freedom of speech, and freedom is something that Azhakh has come a long way to appreci­ate. •

About the Author: Mike Replogle is a Los Angeles-based freelance writer who frequently contributes to KKI and other Rainbow publications.

Concluding the form, Azhakh chambers a high block (1) and snaps It upward, thereby protecting his head and face (11). The final move of the kata Is a powerful reverse punch (12).

FEBRUARY 1987/KARATE/KUNG·FU ILLUSTRATED47