Protective Arts

FOIL: THE USE OF THE POINT

Saturday we were able to do a private seminar on the use of the point with Master Foiler Vincent Camillo at Northwest Fencing Center.

The use of the point – the straight thrust is a critical skill to add to one’s arsenal and foil is a great introduction. The limitation of the torso as a target forces point discipline – aim small miss small – and the rules of right away forces the players to clearly separate the roles of attack and defense.

The constraints of the strip and the limitations of target forced us to play with ranges – how to close and bait with leg movement and keep control of the center with small movements of the hand.

Right of way is a valuable tool to teach the attack – parry – riposte sequencing. As Aikidoists the idea of awaiting a committed attack before acting should be familiar and it was great to see the level of patience everyone displayed.

Brian on the Hunt — Brian S. on the hunt

The gamesmanship and ploys in fencing to create opportunities for action shows the contextual limitation of Aikido. Because our art focuses entirely on the last committed action we miss the baits, feints, and general deceptions that are the very heart of personal combat (monomachy).

Michael and Kumiko as Master Camillo watches

Everyone well acquitted themselves and readily adapted to a single-handed weapon. The thrust and its ability to control the center by simply not moving is a powerful tool to keep in your arsenal.

The techniques in Aikido at a casual glance favor the edge – shomen uchi and yokomen uchi are prominent edge attacks. The kumi-ken is edge dominant.[1] Even the kumi-jyo is heavy on clearing sweeps.

But look deeper and you should see that the use of atemi is nearly universally a thrust. In the Hombu-style the atemi is not emphasized because if done properly it stops uke’s action – thereby making the blend, kimusubi, irrelevant. Atemi is what JKD would call a stop-hit (neutralizing the attack) or a straight-blast.

its not a jab — It’s not a jab – it’s a thrust

I point back to JKD because Bruce Lee was a brilliant student of human motion and developed JKD as a response to the shortcomings he found in traditional eastern martial arts and therefore added elements of western combat systems that he found effective: incorporating Jack Dempsey’s approach to boxing and the fencing style of Aldo Nadi.

Review The Tao of Jeet Kun Do and Bruce Lee’s other works and make a study of them with a new appreciation of a fencer’s use of point. The power and speed of a straight thrust. It is not a boxer’s jab.

31190007_1731968813508268_1723937565523836928_n — Yes – a thrust: weapon, hand, body, foot

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[1] The katana is a shallow-bellied saber wielded with two hands (look at the design consistency of the blade). As such its use emphasizes the edge over the point: the slash over the thrust. The edge vs the point is one of the oldest debates and western vs eastern methods of fence is just as pernicious. Search the web and you will see polarized and emotionally charged opinions – as vociferous as the 9mm v 45 debates in the handgun world. The simple fact is, when there are ‘best’ methods then those cultures with ascendant technology and strategies do in fact dominate – just read your history. But that is a macro-scale review. In monomachy it isn’t a contest of arts but of the individual skill of the combatants. A good summary of the recorded clashes between western swordsman and samurai indicates as much. Also make sure to review the excellent articles posted by Maxime Chouinard

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Additional resources can be found at Martial Arts New York on the importance of fencing (their banner photos show an excellent use of the thrust with and without weapon).

A nice comparison between ‘old school’ and ‘modern’ fencing flashing steel (1926)

To get closer to the origins – the Italian method from circa 1600 on rapier use.

A great example of the principles: study Charlie Burley (thank you Master Keating for that reference as well as for this article!)

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One could argue the most successful armies have preferred the point. The Greek hoplite with the overhand thrust of the spear, the bristling-layered phalanx of Alexander, in close quarters the Roman Legionaries used the thrust of the gladius, the Parthians and Mongols were experts at mounted archery, the advent of the stirrup allowed the charge of the lance, and Patton’s calvary saber design emphasized the point. And it should go without saying that projectile weapons are nothing but the logical conclusion.

Fencing with Vince — Master Camillo misses me on purpose

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Lessons from the Knife Coach – James A Keating

Le POINTE! There are times in life that require the edge of a knife to cut and there are other moments when you need the point of that knife to pierce. Commonly most people who have little or no training wield a knife much like they would a club or axe. Meaning they more or less hit (chop) with the knife rather than cutting (drawing) with it as they should. Believe it or not cutting requires more skill to execute than does the simpler, more intuitive thrust does. The cut can be disabled by a jacket or heavy coat. Also a cut requires a sharp edge (most men’s knives are dull as hell) in order for it to work effectively. A thrust has none of these issues or limitations, the point does its magic under nearly any circumstances that you may encounter. Ripping, tearing, picking and piercing. These are the ways of the point and this then is the topic of this session. Point Work and thrusting with point! The deadly “thrusting triangle” of Kali is a well-known example of the knife man’s usage of the point. In his quest for victory the knifeman must thoroughly understand the many levels of the mysterious thrusting triangle. Sumkete, sonkete… yes, good old thrusting mixed liberally with enganyo (faking). Also add a dash of slashing interspersed with the three thrusts, connect the dots so to speak. That should round out the game in your favor quite nicely. Now you have quite a sophisticated web of defense. It contains the elements of deception, the threat of the point, slashes that seem to appear out of the thin air! Now add the checking hand into the mix – Presto! You have the makings of a great means of personal protection from start to finish. Mind you, it’s not just the Filipino arts which employ these methods. All forms of edged weaponry share these traits. Sure they vary slightly from style to style, from teacher to teacher, but generally they are known by all methods and by all men. They are somewhat “instinctual”. Men will perform these actions with or without prior training. Unique to which we speak is the conceptual depth that these methods encompass. It is that very “depth” that many miss and settle instead for the most basic of understandings and applications (edge-ucated idiots). Stop looking AT the exercise and instead look INTO it. And just what are those things which you might find by looking deeply into the thrusting triangle method? Right off there are a myriad of disarms which await your study. They hide and reside within the thrusting triangle’s matrix of motion my friend. The retraction of the six and seven thrust actions are the key aspects. Right after the thrust is completed (or even if it is blocked) – now is the time to extract their blade from their trembling grip! And then follow-up with another thrust and a line clearing slash. The deed is done, you’ve won. Either exit the area in victory or apply aid to the injured as swiftly as possible. A thrust (Point) can be given in a fight for a specific reason. A case in point is armor. An armored opponent has taken away some of the better and more accessible targets. By doing so he has gained an advantage. The six and seven lines have the capacity to defeat armor. The line of attack itself can find and exploit an opening or gap in armor, modern or ancient armor, it matters little. The number five thrust or a common slashing cut do not have the same ability as the other two lines of your triangle. They struggle when armor is present. You must practice and understand “skidding” thrusts. They are meant to skid off the breastplate, gorget or forearm. They seek their targets by sliding over the surface of the body (in this case armor). In Kenpo such an action would be categorized as “contouring” (following the surface to your target). Such actions like contoured cutting will seek the bone and follow it in fights that lack armored combatants. Even the visceral vaunted backcut of the Bowie knife fighter can be performed upon the thrusting triangle. I know so for a fact for I’ve taught it successfully for years. Bill Bagwell himself also states that the backcut is “pointwork” (point oriented) and that it is not really a cut at all, but instead a form of ripping with the point. Like a raptors (eagle, hawk) beak. I totally agree. And I’ll also add that you must understand the true reason of the fighting design of the weapon’s butt. Some knives have spikes or sharp ridges on their butt ends. Hell yes, this then is another available point of contact / damage to employ upon the enemy in close quarters using “point” techniques. (Remember not all knives are suited to butt strikes. Use the right unit eh?) You must try the thrusting triangle with only butt strikes, then only with knife point, next with both point and edge (connect the dots). Lastly you may add a live hand check to the chest or shoulder (in lieu of the face or stomach) – once the live hand begins tossing 1/2 beat strikes on the triangle matrix as the knife simultaneously delivers full beat motions on the same triangle you’ll have reached a zenith of timing, skill and ability. It’s not about force, it’s about timing. The edge & point of the weapon are force enough. Learn this tried and true material in graduated levels, one step at a time. I’m looking forward to seeing your development soon. The prime directive of the KNIFE COACH is to help you achieve your goals and to make you better at whatever blade art you do. I am sincerely honored to work with you. Whether it be in person or via DVD or over YouTube, I know that together, we can do this! Please learn & never forget this knife fighter’s mantra from times past: “If your blade goes forth, withhold your anger. If your anger goes forth, withhold your blade.”

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An homage to the spike – the point of self defense!

A blade has greater utility, but the simple spike has advantages. An spike could be any acutely pointed metal rod – so it could be chopsticks, knitting needles, a screw driver, an ice pick. The purpose of a spike is penetration. A narrow point will punch effortlessly through clothing, including heavy motorcycle jackets and most body armor. With sufficient force, a metal spike will puncture bone and once through can be levered in a rotating pattern to cause tissue damage. Importantly, a small entry wound is a clean hole and vascular constriction means that a puncture does not bleed profusely. A slash will cause more external bleeding and therefore make a mess. Puncture wounds cause internal bleeding and are therefore cleaner. A puncture will hurt considerably and should persuade an assailant to stop his unlawful action.

RYOTEDORI 4

We have been exploring ryotedori as an indexing concept – using examples from the repertoire of techniques to extract principles

As an additional concept I related nage’s use of shyuto to the 5 basic knife retention methods.

Linking the two concepts: remember that the first knife retention technique shows the grasped knife hand rolling at the wrist so that the knife edge is used against the inside of the assailant’s arm (flexor tendons) or the outside. So the final combination to explore is the double-inside ‘roll’ whereby nage keeps the inside line but only to roll over from the inside to the outside (snaking). But the goal here is for nage to capture both uke’s elbows bringing them to uke’s center line.

This could in itself be a control technique if nage is well versed in its use.

More frequently it will be a momentary lock to a flow* which will resemble udekiminage except that both uke’s elbows are in a hyper-extended position – making the throw similar to koshinage and seionage.

Because of the elbow lock the variant that I am describing is more easily damaging to uke – so train appropriately and judiciously.

If uke manages to release one arm from this control, then retain a firm grasp on the one remaining – the flow should lead to udekiminage, shihonage, etc., when your arm is controlling the low gate but kokyuho, iriminage, etc., when you enter by the high gate – as uke’s escape/counter dictates. The responses are numerous but finite and dictated by the context of the encounter. Learn to see the patterns to cut through the confusion of the specific variables.

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[1] Lockflow. The link takes you to Master Keating’s meditation on its mastery, which is also copied here to ensure it will remain available:

The Six Simple Tricks to Mastering Lockflow:

1. Interaction between partners is a critical aspect of flow training. It is that specific energy that creates what we define as “flow.” As in Japanese martial arts there is an UKE and a TORE (IE: the thrown and the thrower, etc). But flow goes deeper than uke-tore type training. If you are the one doing the lock series, then you must be sensitive and aware of the opponents intentions and be there when he arrives. By this I mean, you read the vector of his force, the pressure of it or not. You must intuit the answer to that force or energy he is displaying, you yield to it. This is a type of focus known as “listening energy”. It is not done with the ears. Need I say more? It is your touch and intent which listens and responds like an echo in an empty theater. It is of the moment, spontaneous and unpredictable. We “know” where to go or to be because the opponent tells us himself. To do this a calm spirit is required. Fear and anger cloud this ability. To flow, seek calm through interaction.

2. Speaking of “yielding”, let’s define this aspect and why so many arts value yielding as a way to sure victory. To yield is like setting a trap. To yield does not refer to a “defense only” strategy. That is to misunderstand the principle. What we mean is more like the old saying “give’em enough rope and they’ll hang themselves.” We let them commit, they do as they wish. Then in an instant we turn the tables on them. At that moment we take the lead and turn their attack into our victory. The minute they commit to a course of action we can understand. Alpha and omega, from beginning to end. Try going with their energy and making it yours in the process. To yield isn’t a weak strategy, it is a clever strategy. In the combat field, it’s their force you’ve stolen, all through the magic of yield.

3. A “universal entry” is always a handy item to have on tap. You must have something that allows you to enter the fray with authority. Entry skills are quite diverse (meaning there are many of them out there). So pick one that can do many jobs, attack, defense or counter fight – it must serve all and be simple to pull off as well. Enter strongly with a dash of deception and go for the goal. The goal is basically to get your mitts on this guy and use your skills to either lock (submit) him or snap the damn joint (break it). The universal entry you decide upon must be good for both static and ballistic threats. It must have a dual nature in order to work on weapons and empty hands alike. It should be some type of universal entry that will apply whether you are on your feet or laying on the ground. Armed or unarmed, ready or not. Time for rehearsal of things universal!

4. Two way pressure! Here is something I cannot stress enough! The constant interplay of two way pressure is a serious factor to incorporate into your locking skills. Why? Because without it not one thing will work. It will all just go back to force on force, no flow, no skill. Just force. So the two ways are subtle and simultaneous. Never one at a time. Some people can’t sense the pressures, others can. It is about pressure and vectored force. The so-called strength of a good lock flow man derives from proper skeletal structure more so than from muscle. Yeah, it is a difficult thing to understand. But, it is more than do-able once you get the concept down and play around with it for a few days. Sometime when we are together just ask me, I can demonstrate how this works and pass it along to you. In order to play just keep the pressure two way!

5. Keep the number of locks down to a reasonable number at first. Five or six will do. Now make them work off one another, add a strike here and there as a half beat. The six locks should be ones you can do, one’s you know. Remember we are seeking FLOW, lockflow. So you must already have some prior knowledge of locks eh? Then the locks you already know fit into the matrix of the “lockflow”. That’s the idea. The number of joint manipulations is not too important, you can always add or delete a lock here and there. As your partner pushes away, flow back with them. Perceive what is available to you at that point. Slow it down, this is about learning. With each of the locks remember to apply footwork and body mechanics as part of the package. Grip strength is an important element for a locker. Learn about improving your grip strength, learn too the different kinds of grips and the applications. Choose wisely your locks, let them flow between blocks, give his head a few knocks, choose wisely your locks.

6. Counters to the six locks are important. The counters are what your training partner does – the counters are the drive motors of the Lockflow itself. So the counters must be appreciated as much as the locks themselves ok? You both have duties to perform so that you get the idea of how to flow. The physical locks are simple when compared to the intangible, elusive nature of flow. The counter should be smooth and gentle. No one wins, this is a drill to teach sensitivity and movement. Work together, coach one another, do not compete. To compete makes learning most difficult. There are many kinds of counters you should try. Some are based on a physical technique that counters another physical technique. Others like “bump and dissolve” or “shiver and release” work on all locks. Such counters are more principle than technique. Slow down, stay on it, make the flow of flowing yours! OK, both partners should alternate roles at regular intervals. Know several counter methods, change them about some, challenge the set flow with new elements and it becomes real. Soon the slower flow will becomes fast and your abilities improve. Just don’t “fight” stay smooth, allow the counters, learn to flow not fight. A counter-move in a lockflow groove is what we seek.

Lockflow is only a part of the greater whole that makes up close quarter fighting. Lockflow must be part of the strike, throw, cut, stomp methods you would normally use. If your attempt to lock breaks down then flow with the opponent until another lock can be found. Or simply break off lock-contact and smack the heck outta them as best you can. Flow is a recognized aspect of understanding the force ladder. The force ladder is a flow chart of actions, thoughts, tactics and tools. Lock flow is sensitivity and total integration of your abilities.

Never forget all locks are disarms, all disarms are locks: “Kunsea is augow, augow is Kunsea” / see the marvelous duality here. Really awesome!

Many times I have heard that only the FMA actually teach the concept of true limb targeting hits and limb destruction’s. I see the idea there, but we must also realize that a joint lock taken to the extreme leads to joint breaking (destruction). This is also considered a limb destruction action. Any “lock” when done fast and hard can and often does destroy the joint, bones, sockets or nerves (or all of the above together). To find some combative value know both sides to this issue. Know how to control but not destroy. Know how to destroy and use the locks as deadly weapons.

Thanx for reading!

Keating 8/22/15

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Cliff Lenderman was one of Master Keating’s teachers and this is Lenderman’s presentation of lockflow and as a concept we can interpret Aikido’s series (responses 1-5) as a hand dexterity and flow sequence as well.

PRAYER ENTRY

Indexing. Conceptually indexing is a way to quickly act based on a limited amount of tactile information. In the ryotedori series it is easier to understand – the indexing almost can be seen as a logic-gate: if this, then that game.

A broader tool to keep in your conceptual tool chest are prayer hands. By placing your hands palm to palm with the fingertips immediately in front of your centerline raised to eye-level you replicate seigan no kamae.

Prayer hands are valuable because any attack that comes at your vertical line (angles 1, 2, 12) will hit either your left or the right hand. This much should be obvious.

Keating Doce Pares — Yokomen (1) gyaku-yokomen (2) shomen (12)

But your “go” signal is as follows – as soon as one hand is touched, the other should dart forward while the first hand touched remains in place to control uke’s initial attack.

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Some true self-defense systems take the indexing idea to its logical conclusion and created an entire (and effective) system predicated on basic principles. Study Tony Blauer to see how well he exploits this response. I encourage you to make a study of Blauer’s SPEAR concepts to further augment this indexing idea.

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Please recognize that this is a concept – a pedagogical tool to help develop a frame of reference. It is a concept. You have used it for years, perhaps without recognizing it.

In Aikido the yokomen strike forces this response. But in Aikido the challenge is to recognize the difference between shomen (angle 12) and yokomen (1 and 2) – and when the attack is done properly the difference is difficult to perceive. Hence the prayer entry: an exercise to feel the angle of attack without presuming it. I stated yokomen forces a prayer entry response: At the kihon level let us assume uke delivers yokomen with a right hand attack – nage will receive with the left and then control uke‘s center with nage‘s right hand. Yokomen is set up purposefully to teach a R-L / L-R response – as opposed to shomen which is a R-R / L-L concept.

But now revisit your conceptualization of yokomen and shomen – and assume you will not be able to perceive which form the attack will take. Therefore default to the prayer entry. Depending on the pressure and angle of uke‘s attack you will feel the uke‘s intent as being either yokomen or shomen. Once you have determined (through somatic – sensory information) then your responses can flow in accordance with uke‘s force. The distinction is best conveyed in real-time in a class room setting because the nuances will be lost otherwise.

Once you can visualize the prayer entry, then it may be a useful concept because it will allow you to move more quickly beyond kihon. Yokomen done kihon is almost universally taught as a RvL / LvR intercept with the nage‘s opposite (free) hand acting as the control. Shomen is by definition a RvR / LvL control and counter. Apply the prayer entry and you will better see why I suggest that yokomen (especially) properly executed requires a single hand response from nage. Shomen also becomes more plastic in its definition. We will explore more in person – these are just notes to remind us of the path.

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Brian Chilton pointed out that Master Keating posted about the Priest Style of Kung Fu, which I repost here in its entirety, in case the >link< does not work. Dive in and look for the connections:

The Priest’s Style:

Perhaps a “Missing Link” in the Martial Milieu:

The first time I had heard of this was in 1987. It was being spoken of by David Harris, Sid Woodcock and Fook Yeung. It came up during a conversation about some of Silat’s unusual entries and techniques. They seemed to all agree that it was a branch of ancient method called the “priest’s style”. Somewhat like Tai Chi Chuan in that it was a creation point sort of fighting art. A sun-source, versus an art that is a “version” of other arts or original creations. So many of these original methods have been lost to time. Since I had not encountered any references to this method I listened with great interest.

Later asking to be shown a bit of the Priest’s style by Sifu Harris so that I may grasp its essence. So I was given a substantial bit of knowledge about it. I continued to pursue this art, piece by piece over the entirety of my relationship w/ these three men. For me it was a spawning ground for new possibilities to come forth into real life.

An ancient way, magically new once again. This is called “re-birth” in kung fu parlance. The Phoenix – a fire bird from ashes thus springs forth alighting the way for the faithful as of old. As you already guessed, The name itself says that there is a religious context involved. Such as it may be this also indicates a doctrine of life – not death (killing). Meaning the bulk of what I experienced was not injurious or deadly to an aggressor. Like Tai Chi the idea is to “neutralize” the opponent rather than harm them. Respect for life once again. A high precept requires a high art to support it. Being a creation point art, that aspect was thoroughly ingrained into the skills at an appropriate tactical level. I can attest to it. No fanatical one, it is not a lost super-art or secret of the Siddhi’s. It is merely an art lost to time (or absorbed by another art(s) perhaps).

It is highly stylized in a classical type of format. If you are an impatient guy this may not be the art for you, heh heh. Today so much of martial arts is fast n furious, hi-speed and low drag. A “get in there and get’um” logic rules the day. This Priest method is not so eager in its manner of dealing with an enemy. Taking life is easy in a fight. Saving life is not as easy. This concept of saving life, non-destructive control over the adversary and maintaining a spiritual base appealed to me greatly. It still does – now echoes of the ghosts mix freely with the sounds of daily life. Fleeting images of ghost boxers in the night fog. Emissaries to the faithful. Golden pillars of light. Golden pillar boxers. The martial mardi-gras of masters past / still treasured as the masters they ARE in the afterlife doing their articulated techniques in the moonlight’s smoky haze.

I know, you think I dream, right? That I have gone mad. No, since my old friend Tarim Kim swept me into the Jianghu, a true reality has intruded and false dreams are no longer permitted. I speak of an accurized version of reality – poor old JAK can’t look back. There is no more “I”, only “we” and how we relate to “it”. I ask you: Which of us is the dreamer? Which of us is asleep? Which one is awake? Which path do we take? The Priest method is an esoteric journey of the self and of all which the self values. I have already said too much for this session I believe. Not wishing to make confusion. Perhaps I can write more in the future.

(Some have asked how to help support my efforts. This is an easy thing. Simply keep me in your hearts, share the spirit of life that lies within the core arts we all practice.)

Help others, have no negative thoughts in your being. Know that energy is eternal and cannot be destroyed. Good works continue past this mortal coil. You are here for a darn good reason.

He + art = Heart! – JAK

Priest Method Part Two:

A Followup on the Curious Priest’s Style of Kung Fu

The first installment drew some curious comments so I shall put forth a bit more on this subject. Some details, some critical correlations and universally recognized applications. The style itself is a rather clever way to understand / catalog the myriad movements the human body can accomplish. This in turn helps us learn the fighting arts and to excel in other area’s of life outside the martial path. The non-destructive arts have always interested me. The Priest’s style of kung fu embraces that element.

This Priest method looks quite benign. Innocent even. But there is that hidden core that is very serious. A fierce spiritual / intellectual shield of hidden strength is sometimes spoken of in relation to this particular method.

I had been training in Silat w/ Guro Jim Ingram, also learning Kali, Silat and JKD from Cliff Lenderman at the same time. Plus attending numerous seminars and events. It was quite a fast track on some specific arts. Mr. Harris and whichever guest teacher might be present always asked what I had learned at these other classes (particularly Silat). And so I’d show’em what I had picked up. Often done poorly as the material was still new to me. They’d look things over, make some comments – make cross references and begin showing me similar things from other arts.

It was during one of these amazing sessions where the Priest method first came up. It was Fook Yeung who mentioned it to Harris and then he to the class. So Dave did some cool demo’s of the system, evidently Fook had taught him the method years back. So anyway, that is where and how I kinda started to “see the light” of the universal way these men thought. A true gift.

Ok, back to our Priest style – some technical stuff – The number one basic position – “start up” is simply the standing prayer position. Feet together, back straight, palms pressed together near center chest. You see statues and paintings of deities in this pose. This is to “enter the fight like an arrow”. You ask: Is this unique to this method alone? No, it is also found in some types of Silat. They call it “dive” and it too is a primary entry tool or method of employing the same “prayer hands”. Off of “dive” (or prayer) lie circles of many kinds. This must be thoroughly understood and examined. As must the various “clasps” (mudras?) that occur throughout the style. Once I became more familiar w/ the Priest Style I too saw connections between it and Silat’s methods as the trio of teachers first pointed out (Silat more so than other arts or systems). Curious yes, but so it is!

Assume the Standing Prayer position. With right arm make outward circle and return to palm-prayer position. Repeat w/ left arm (hand). Next right arm makes inward circle and back to prayer position. Repeat on left side – balanced motions. For Kali people think of the “snake” disarms in the inside & outside lines. Boom, there it be, another correlation. Ok, yer doing Goood!

So can ya do the “snakes” again for me, but leave the hands clasped. Move’em on the circular path again as one unit. I know, I know but just do it eh? Yes you can. Figure it out dammit. Repeat that same material again, but on one leg this time. Switch legs as you switch above. And do remember, hidden in the moves, clasps, salutes (bows) and prayer positions are the combative elements.

Look for that connection if you happen to stumble upon the thought someday. You must: “Intuit to accrue it”! Haw Haw.. / Anyway since I practiced Okinawan Goju for many years I also see elements of Priest style in Seisan and Sanseiru kata’s. Not the whole forms, but pieces. Coincidence? Probably, but ya never know about how things worked in the olden days. This stuff got around, had a life of its own.

Religion is popular, Priests knew this art, they got around. It’s the way of religious men throughout history. Jesuits, Saints, Buddha’s, prophets and sages all “got around” (travel’in men) throughout history. Much more so than the common man of the same time. Lastly, it was shown to me one cold fall evening at the infamous Green Lake school where Red Boat Wing Chun (opera style) kung fu blended w/ the Priest style.

The trio of teachers has blended the two methods into one. I watched the demo Mr. Harris did of the blend and I must say, it was damn cool. But such things did not happen too often, only when something sparked inside them did such information come forth.

Andy Dale, a master teacher of Kung Fu himself still teaches there at the Greenlake School. It was told me early on in my training, w/ no buts or exceptions that it was ANDY DALE who’d take over the system if something “happened.” No one else. That is still honored by me and true today. Andy is the boss of that clan and of the system now. I don’t interfere. No matter who says what, it is that simple. He’s the boss and the rest of the group needs to say Yes Sir, and shut the fuck up. Hell, Andy may know even more about the Priest system. I never asked him. But I am honored to have been able to know such men. I lay no claim on a dead man’s fame (Mr. Harris) as have others from the group. I stand alone like I always have, upon my own merit. Not the merit of my teachers or the merit of others I merely knew while upon the path.