Martial Arts

Unarmed Combat and Martial Arts

I study and teach an eclectic mix of martial arts, specifically designed for a modern context, based upon Historical methods and records. It’s primary basis is in the German and Italian styles of grappling and wrestling, but incorporates, in order of prevalence, Daito-ryu Aikijujutsu, Kyokushinkai, Systema and select elements of Judo, Wrestling, and Boxing. This comprehensive style includes throws, joint locks, strikes, submission holds, groundwork, and control techniques. The main emphasis is on mastering practical methods of self-defense in response to unarmed and armed attacks through the use of principles rather than techniques. However, improved self-awareness, coordination, and conditioning are equally important benefits obtained from studying this style. Generally, I refer to this as the 'Joining Methods and Cultures Way' since this combines elements of Asian and Western Martial arts, in a manner that I feel is consistent with the desire and direction of self-defence.

I've been very lucky in that I've received some great training at the hands of exceptional teachers. I began studying martial arts when I was a young child, and since that time I have learned a number of asian martial arts styles. I currently hold teaching certifications in Daitoryu Aikijujutsu, Tomiki Aikido, and Kyokushinkai. Additionally, I have recieved first-degree black belt in Muso Shinden Ryu and recently been awarded a 1st degree black belt in Judo. This range of styles has provided me with a fluid answer to the majority of situations I've found myself in, and helps me to understand the troubles students may have in learning a physical, movement based art. It brings my great joy to be able to provide and pass on some of the material I've been given and used over the course of my career in martial arts. While I do hold relatively high rankings in Asian Arts, it is bringing Western Arts more into the public eye that I am most proud of. This has allowed me to research and study with some of the best and brightest minds in the field, and I remain indebted to all my teachers and students, for helping me along this path. I'm not concerned with the handing out of belts, or other affectation of rank- I'm from a traditional mindset that you are ready when you are ready, and your master or teacher is the best judge of that. It requries that both the student and the master retain maturity and understanding, as well as open lines of communication. I'm interested in teaching people, not making 'black belts' who may or may not have any facility within a given situation. this means I tend to push people, in many cases farther than they previously had attempted, but I have a constant faith in people's ability to go past their own boundaries.

All the classes that I teach tend to follow the same format, regardless of the environment that I find myself in. This always includes warm-ups (some light cardio exercises to increase the heart rate, stretching, and basic strength-building exercises such as sit-ups and push-ups), and is then followed by some combination of Ukemi waza (breakfalling and rolling techniques), basic combat drills, and throwing drills. This allows me to get a feel and understanding of where the class participants are in both physical fitness, but general combative awareness.

Safety is my first and primary concern. While bumps, bruises and minor abrasions are to be expected, limiting potential injury is of course paramount. All students receive training in rolling and falling, in direct proportion to the material being covered.

Sword-based Arts

There are a number of different sword styles that I teach. As time goes on, I'll add more and more to these pages until I get at least a brief piece on everything up here. 

What is a Sabre, and how do you fence with it?

The classical style of fencing with sabre was perfected in Italy during the last quarter of the 19th century, the most important pioneer in its development having been Guiseppe Radaelli, a Milanese master, who became chief instructor of the sabre in the Royal Italian Military Fencing Academy in 1874, when it was transferred to Milan from Parma. Radaellis system was described by F. Masiello, an army officer whose works remain the chief authority on the light sabre. An old-time rivalry between the Neapolitan and the northern Italian fencing methods came to a head when M. Parise, an expert of the southern school, secured first place for foil-fencing in a tournament instituted by the military authorities, the result being the transfer of the Military Fencing Academy to Rome under the title of Scuola Magistrale di Roma. There was, however, less difference between the two schools in sabre than in foil play, and the Radaelli system for the former was so generally esteemed that a master of that method was established at the Roman Academy.

The fencing-sabre is made up of two principal parts, the blade and the handle. The blade, from 33 to 34 in.. long and slightly and gradually curved from hilt to point (which is truncated, or rolled-over), has the tang, which runs through the handle; the heel, or thick uppermost part of the blade fitting on to the guard; the edge, running from heel to point; the back-edge or false-edge (sometimes not allowed), running from the point along the back for about 8 in.; and the back, running from point to heel (unless there is a back-edge). The blade is fluted on both sides from the heel where the back-edge begins, The handle consists of the guard, of thin metal, extending from the pummel to the heel of the blade, to protect the hand; the grip (of wood, fish-skin, or leather), shaped to fit the hand, through which the tongue of the blade passes; and the pummel, or knob, a button which finishes off the handle and holds the tang in place.

The fencing sabres that we use here are also know as the 'fairy-sabre' due to the lack of suitable examples of the heavier 'light' fencing sabre. These are similar in design, but far lighter, with a straight blade and folded point for safety.