10 Questions with Ismet Himmet [video]

Posted in 10 Questions, Internal Arts, Kungfu, Martial Arts with tags , , , , , , , , on April 8, 2017 by Combative Corner

Ismet Himmel is a masterful teacher of Wudang Principles and teaches from Hainan, China.  He has many wonderful training and workshop clips, forms and other videos available on his youtube channel.  Typically, we send our questions and the interviewee returns the answered questions in writing.  This time we were very fortunate and happy to see that Ismet, took the time and effort to put his answers to video.  Enjoy.

For more information on Ismet and WDP-China.

Visit there YouTube, Facebook, or website.

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10 Questions with Ty Gay

Posted in 10 Questions, Jiujitsu with tags , , , , , , , on April 1, 2017 by Combative Corner

What was your journey into the martial arts like?

I started around the age of 9 or 10 in a karate program at the YMCA in the small-town of Shawnee Oklahoma for a month and then later joined a taekwondo and Hapkido School and eventually received my black belt in both arts in 1989.  In the 90s I took a break from martial arts to pursue my musical career and at that point started playing in local bands and eventually moved to Oklahoma City to play drums for one of the more popular local bands at the time.  Around 1997 is when I met the band Tool and their singer Maynard James Keenan.  I also was fortunate enough to meet Maynard’s bodyguard at the time who ended up being Henry Akins.  Henry at the time was a blue belt under Rickson Gracie (now the third American black belt) and was getting dropped off of the tour in Oklahoma where his family lives.  We exchanged numbers and he came over the next day to my house where we ended up training on the carpet.

I will never forget how magical those moments were and how blown away I was by the techniques.  Me and Henry became immediate best friends and remain friends until this very day.  Because there were no Jiujitsu schools around me or even in Texas at that point I started training at a reputable judo school called USA stars.  USA stars was not just a judo school, it had all sorts of wonderful martial artists, teaching everything from Thai boxing, filipino arts, Japanese Jujitsu, combat jujitsu, judo and MMA.  Around 2002 I received my black belt in Combat jujitsu.  In 2002 I also started training with Brazilian jiu-jitsu black belt Leonardo Xavier and by 2007 was a brown belt in Brazilian jiu-jitsu.  Although I loved the sport aspect of Brazilian jiujitsu it was much different than the Jiujitsu I was first shown by Henry Akins.  As a brown belt I left my association a little bit disillusioned and in search of the original art I had fell in love with in the late 90s.  In 2009 Rener Gracie came to my school and did a seminar.  I knew at that point I had found what I had been looking for.  I have been following him and his brother Ryron ever since.

I received my Gracie jiujitsu black belt from the Gracie Academy in 2013 and it is one of the greatest accomplishments of my life.

 

How do musicians balance all that they have to do with their training?

It’s hard but you find time for the things that you love.  There is now even a Facebook group for touring musicians that allow us to find the schools that are most receptive to our training schedules.  There is also another click that me and my rock ‘n’ roll friends who train have created which is called Rockjitsu!

One day I have a vision of my band (EVERYBODY PANIC!) doing a huge show or even going on tour with other like-minded artists such as Tool, Trivium, Powerflow, Five finger death Punch, King 810, Nothing More, Dragonforce, Travis Barker/blink 182 and many others with hopes of making it a charity event with a huge seminar early in the day taught by different members of the bands who train and then later that night having a huge rock ‘n’ roll show🤘🏼

It might seem like a crazy idea to most people in the music industry but I always have a knack for making crazy ideas work – so I’m cool with it.

 

You and Jennifer are “Double Threat” (Gracie pun). How has her influence improved you?

[speaking of Jennifer Gray, Interview]

She is my rock and my muse.

Jennifer is what a truly strong person looks like.

Without her I would be truly lost.

Because of her I’m not only a better practitioner of the art of jiujitsu, I am also a better practitioner of Life.

 

There has always been a lot of talk about gi jiujitsu and nogi jiujitsu. Whenever we see pictures of you, it’s always with a gi? What is your general feeling about the gi and its use?

I love training with the Gi but I also love training without it.  There are many aspects to this beautiful art so I try not to limit myself.  Gi, No Gi, Gi with gloves, No Gi with gloves, weapons, Close quarters, flow rolling… the list goes on and on and all of these things are important to me.

I also think it is important to train one day a week as if I am 70 years old in preparation for the day where my “young guy moves” are no longer efficient.

 

In a purely self-defense situation, what (in your opinion) are your 3 most reliable techniques.

  1. Verbal Jiujitsu
  2. Situational awareness
  3. Distance management

 

How did you come to form Redline JiuJitsu and what was that experience like?

In 2004 is when I officially started my Academy.  I was pretty intense back then so the name redline comes from the tachometer on a race car.  I feel very fortunate to have had the first Brazilian jiujitsu school here in Edmond, Oklahoma and still be around today.  I used to be a sprinter but now I am more of a marathon runner when it comes to my philosophy of jiujitsu and even business.

 

As an owner, business man and instructor of a Jiujitsu school, what is the most important lesson that you’ve learned?

95% of everyone who I have given free tuition to never valued the program and ultimately left the art.  At the same time you cannot put a price on the ability to know how to keep someone from taking your life in the worst case scenario, so I do not charge people for jiujitsu, instead I charge them for the things that I need to live and to create the environment to transfer this priceless information.

 

As the lead singer of a heavy metal band, how to do injuries, sore pipes (from chokes) and such affect your performance or the way you structure you days?

Injuries typically do not affect me at all because I just don’t get injured that often.  The reason for this is because I have no problem being tapped out by someone and I also have no problem taping fast (my defense is pretty good too).

 

What are Ty’s musical influences? (and are they the same artists that he plays when training?)

Tool and Nine Inch Nails are two of my biggest influences in music, but to be honest I really love all music.  As for playing things at the Academy we typically restrict it to music with no words. (any genre)

During the last chapter of the blue belt test the student is required to free roll with me or one of my instructors and during this five minutes we typically play Meshuggah (bleed) because of how it can immediately induce anxiety.🤘🏼

 

If jiujitsu didn’t exist, what other martial art might you have gravitated towards and why?

Judo, the reasons should be pretty obvious

 

Bonus Question

What are Ty’s top 3 future goals; now or far in the future?

  1. Financial freedom
  2. Help more people reach their full potential through the medium of jiujitsu and music
  3. Stay on the mat forever

FOR MORE ON TY, JENNIFER AND REDLINE JIUJITSU

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10 Questions with Nick Evangelista

Posted in 10 Questions, Fencing, Martial Arts, Swordsmanship, Training, Weapons with tags , , , , , , , , , , , on March 23, 2017 by Combative Corner

Everyone in the fencing world should know who this guy is.  I came across him when I first took up fencing and although I’ve never had the opportunity to be taught by him, his teachings, description of fencing history and theory, and vision of what fencing is and should be have stayed with me through his books; The Art and Science of Fencing, The Inner Game of FencingThe Encyclopedia of the Sword and others.  For his more recent writings and for more information on the man and his thoughts, visit his fencing school’s blog; EvangelistaFencing.com.  Now, without further ado…

How did you initially get drawn into fencing?

When I was growing up in the 1950s, fencing always seemed to be in front of me. In movies and on TV, and in books. When I was around 14 years old, The Three Musketeers was my favorite story. Any and everything with swords got my attention. Fencing seemed so exotic and otherworldly. I thought it was the most amazing thing in the world, and I wanted to learn how to do it. I didn’t have any idea how this would come about—I didn’t know any fencers, or where there were any fencing schools–but somewhere in the back of my brain, I had a feeling I would one day fence. In the end, many things conspired to lead me to fencing. Actually, I sometimes think fencing chose me rather than the other way around. I should add, though, that it was not an easy union. I had to work hard for everything I’ve accomplished.

People don’t often talk about injuries in fencing, but have you sustained many injuries and if so, how have you dealt with them? 

I’ve been fencing for 47 years, and I have never had a serious injury. Nothing beyond the normal bruises, welts and scrapes. When I was learning to fence, I was taught balance, timing, and distance. Basically, I was taught to control my actions. My background is a traditional fencing game. Falcon Studios was peppered with former champions. No one gave an inch. Everyone fenced hard. It was very competitive. But it was fencing, not the running, poking school of bipedal joisting. The fencing I learned is the same fencing I teach my students, and in 43 years of transforming everyday people into fencers, I have never had a student injured beyond the aforementioned bruises, welts, and scrapes.

I have been injured by everyday life, though. Broken body parts, and the like. And I have most certainly had to adapt my fencing to these hurdles. One of my most challenging injuries was having my right hand—my fencing hand—crushed in a car door ten or so years ago. I remember the sound of crunching celery as my metacarpals were being reduced to puzzle pieces. How did I deal with this intrusion to my fencing? Actually, I just kept teaching, because my fingers weren’t broken, and that’s all I needed to maneuver my foil. With every personal injury I’ve had, I just keep teaching, adapting to the situation, until I heal up. Fencing is what I do. Of course, I do not recommend this regimen to anyone else. Today, for me, old injuries regularly suggest impending bad weather.

     Side-question: what are the most common injuries that you’ve seen fencers come across?

Outside my own fencing sphere of influence, the injuries I see most in modern fencing are to the knees and ankles. To me, whatever the level of the fencer injured, these problems imply poor training, a fencer lacking proper balance. For all outcries to the contrary, there is something to be said for good, old-fashioned fencing form: an attack with a straight arm, measured foot work, timing flowing from the fingers, the free arm being employed for balance. No silly leaping, no over-extended lunges, no toe-to-toe jabbing, no feet going in ten directions at once. It doesn’t surprise me that so many fencers are being injured in the modern fencing world. The only place where chaos turns into order is on page one of the Bible. Everywhere else, it leads to serious problems.

Your books are a staple to any fencing library… however, it has been a while since you’ve published.  Will we see you authoring more?  Or are you switching to articles and blogs?

I published my last book in 2001. At the same time, I was the Fencing History editor for Encyclopedia Britannica. I also published Fencers Quarterly Magazine. Since that time, I have gone to college, earned a BA in History, and am now in the process of finishing my Master’s in History. Lots of writing there, but on topics dictated by educational requirements. More fencing books? I have at least five in my head. Plus, I have my website, where I can pursue short term fencing ideas that interest me. I have a number of options, but I need to get my Master’s Degree out of the way first.

I’ve read that you’ve always been against the pistol grip, however, in looking at pictures of your personal foils, I’ve noticed that your grip is heavily taped. What is the purpose behind it?

Since you mentioned pistol grips, no, I don’t like them, and I don’t let my students use them. They are incompatible with the requirements of the traditional French School of Fencing. Also, I should mention, for those who are too young to remember the 1980s, that the FIE medical board recommended in 1982 that pistol grips be banned from fencing as dangerous. But that is neither here nor there, so I will now jump off my soap box, and return to the subject of binding French grips.

When I was l learning to fence, French grips were wider than most of the French grips I see today. Hence, they were easier to hold onto. So, I build mine out with three or four winds of sports tape. I would not call this “heavily taped.” It does not change the shape of the French grip in any way, nor does it change its intended usage. It merely makes the grip wider and, hence, as I said, easier to grasp. This, in turn, substantially improves the fingering potential (doighte), which has always been the hallmark of French weapons. The sports tape also provides a superior gripping surface than plastic, rubber, or even leather. Some fencers do not like having their leather-bound grips covered with cloth tape, but I believe that function always, always, always takes precedence over esthetics on the fencing strip. Just the same, I do not force this onto my students.

Do you still compete?  If not, do you still fence “hard?”

No, I have not competed since the 70s. My business is teaching. My fencing master once said to me, “You can be a great teacher or a great fencer, but you can’t do both at the same time. I teach because that is what I enjoy the most. But I do fence with all my students who have graduated to bouting. I fence with students who come to me from other salles, as well. I do not hold myself aloof from the world. And, yes, I fence hard. You never let anyone win. Acting as a brick wall is the only way to pull the best out of a student. Anything less than that is a lie, and gives the student a false sense of confidence. They have to earn their touches. Mastery is forged in opposition. Skill is earned under fire. I learned this at Falcon Studios more years ago than I care to think about.

What training aides and/or specific exercises have helped you or your students best?

I think what helps my students the most is continual one-on-one lessons with me, which includes mechanical lesson and regular bouting. There is always a continual dialogue that runs through these sessions, which allows the student to apply critical thinking to their situation. My ultimate goal is to produce creative, independent fencers, who can easily function in any fencing situation without my assistance.

I also employ aspects of Behavioral Psychology in my teaching. Let’s face it, when you teach someone to fence, you are obviously attempting to modify their behavior. If you know specific techniques, this can make the procedure much easier. When I was an undergrad in college, and minoring in Psych, I wrote a 56 page study on the use of behavioral techniques in training fencing students. By the way, they work well.

When picking a weapon… how do you know which weapon is for you?

My recipe for knowing which weapon is for you: Start with foil, and fence it for a year. Foil will teach you the fundamentals of fencing thought and behavior, which are embedded in its conventions. Year two: add epee, which will hone your timing, point control, and judgement. During this time, shift between epee and foil. Year three: Add sabre. Sabre always comes last. It is the most divergent from the other two weapons. But, here, you can easily integrate the point control of foil and epee into sabre. In this third year, fence all three weapons. At the end of the third year, you will not only have a solid grounding in each discipline, but you will also know which weapon speaks the loudest to you. Unfortunately, many students coming to fencing want instant gratification, and immediately pick the weapon that seems the coolest to them, and many coaches will let them do this. I say, “Oh, well…!”

There has been a lot of talk between French vs. Italian methods.  What (in your opinion) are they talking about and is there any advantages or disadvantages choosing one over the other?

The two traditional schools of fencing are the Italian and French. The Italians began developing systematic fencing systems first during the early 16th century. This, to take the place of armor that was being abandoned in the wake of firearms. The French became serious about establishing their own approach to fencing during the 17th century, chiefly because they liked neither Italian fencing masters, nor their theories of swordplay.

Although there are today structural similarities between the two fighting systems–the Italians having borrowed from the French at the end of the 19th century to establish a more cohesive method of operation–the philosophies of the two remain widely separated by temperament. The Italian system primarily stresses the dynamics of strength, speed, and aggressive manipulation. To physically dominate opposition is its goal. The French approach, on the other hand, is built on finesse, economy of motion, and strategy. The well-versed French fencer looks for ways around his opponent’s strengths, rather than meeting them head-on. To my way of thinking, this makes the French school more flexible and creative than the Italian, which tends to be more dogmatic. I might also add that the French school, with its non-confrontational approach, easily fits a wider range of physical types and demeanors. This means, you do not have to be the strongest, or the fastest, or the most aggressive fencer in town to win.

In order to bring hits back to a more realistic place, some classical schools have used point d’arrets.  What are the pros and cons of using these? And are these something you’d ever recommend for your students?

When you have the proper spirit and training, fencing is fencing. The best fencing is an internal expression. As far as I’m concerned, the point d’arret is a “classical” affectation. Period.

If you had a moment to recollect your favorite on-screen sword fight (of all-time!) what would it be and why?

This is an easy question to answer. My favorite movie duel of all time is from the 1940 Mark of Zorro, between Tyrone Power and Basil Rathbone. To me, it is the most balanced and cleanly executed sword fight ever produced. Also, it is carried out without any background music, something of a rarity in filmed action. But you don’t really notice this lack, because the sharp ring and changing tempo of the clashing blades more than fills the gap. It is a wonderful sword fight.

Runner up: The final duel between Errol Flynn and Basil Rathbone in The Adventures of Robin Hood (1938). If the Zorro duel didn’t exist, I would pick this one. In all other aspects, I think Robin Hood is the superior film.

One more plug: I also recommend the fencing in the French movie, On Guard. It is one of the best modern swashbuckler films I know of. All the sword fights are superior, the story, based on an 1858 French novel, is interesting, and it even has a wonderful, though anatomically flawed, secret thrust. A good movie to own a copy of.

Bonus question

If you had the chance to train with one Maestro, living or deceased (besides ones you’ve previously trained with), whom would you choose and is there any particular reason why you’d choose him/her?

Maybe Madonna as the fencing master in the James Bond movie Die Another Day? Why? She dressed well.

Actually, I’d choose Domenico Angelo. I would just love to pick his brain, and find out what made him tick.

Harry Angelo, Domenico’s son, would be my second choice. Same reason.

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10 Questions with Benjamin Bowles

Posted in 10 Questions, Fencing, Swordsmanship, Weapons with tags , , , , , , , , , on March 1, 2017 by Combative Corner

benjamin-bowles-pic

What got you interested in swords and fencing?

I’ve been interested in swords and weapons since childhood. It was fascinating to me to see swords, which are clearly implements of harm, sit only a room away from fine art in museums. I couldn’t have told you back then but my fascination with weapons is because they represent the half of the emotions we wrestle with and suppress. They represented the physical aggression, conflict, and violence my upbringing was fortunate to be without, but emotions I was familiar with. That made them foreign yet familiar, and always stirred my interest.
I began fencing in college on a whim. I looked for a physical education class to fill some credits and saw “beginning fencing”. Having played with toy swords growing up, I thought I should try learning how to use them. I developed a lifelong passion since.
What were your main obstacles in building Benjamin Arms?
Manufacturing 19th century weapons in the 21st century was more difficult than I imagined. Mainly, the industrial processes common then are now rare, artisanal, and expensive (i.e. forging, casting, leather working, etc). Many of the processes have been lost to time, too: The steel recipes and heat treating techniques for blades were closely-guarded guild secrets in Solingen and never published; The species selection, curing technique, and drying process for fish leather is a mystery.
Through arduous research I’ve been able to finding the artisans, manufacturers, engineers, and materials for my weaponry, though it sometimes takes years.
benjamin-arms-003
What part of your business do you enjoy the most and why?
Resurrecting weapons! For instance, I’ve spend the last 2 years studying Italian epee design, construction, function, and materials and just finished a few weeks ago. After so much work sourcing materials & prototyping I got to resurrect a weapon detailed by a fencing master from over 100 years ago. I had his book on my desk and my reproduction in hand. The work gives me pride, and gives honor to the masters of the past.  www.BenjaminArms.com
What part of the artistry do you enjoy the most and why?
I enjoy working with Italian weapons the most because they require more skill to build. I feel Italian foils and epees are really demonstrative of my expertise and unparalleled craftsmanship in classical weapons.
benjamin-arms-northern-italian-foil-02
Your niche requires you to know a lot about fencing history. What resources and travels have helped you the most?
I could not have built this business without my apprenticeship under Maestro Ramon Martinez and Maestro Jeannette Acosta Martinez. They provided the constant stream of weapon specifications and construction techniques I needed to make sound weaponry. More than that, though, they taught (and continue to teach me) how to fence. Fencing systems will explain the purpose for each weapon’s design, and I could not make them without knowing how to fence.
Secondly, to continue improving I’ve been researching traditional construction techniques since the beginning. Sword construction is not a widely written about topic, and most highly specific questions remain unanswered: what are the period techniques for ornately etching sword blades? How were 19th century fencing blades heat treated? How do you produce sharkskin leather for grips? This led me to amass a library of reference books and articles, but also to travel to some of the major knife and swordmaking capitols of Europe. I traveled to Solingen, Klingenthal, and Thiers last year to collect and document as much information as I can. You can read more about the visits to those cities and my research on my website.
benjamin-arms-classical-italian-epee-06
How have you been able to model your business from others?
You’ll find parallels of my business in many niche markets, though I’ve modeled my business from fencing equipment suppliers of the past. Castello Fencing Equipment Co., Joseph Vince, Souzy Paris, and Serafino Gnutti all sold a variety of fencing swords and accouterments. Its always been my intention to provide the same diversity and quality as these past manufacturers.
Why do fencing blades have a cant, and when was that implemented into the weapon? (part 2) Many sport blades are also angled inward, is this too, a modern invention and why?
It depends on the system of fencing, as French weapons are canted and Italian are not. The answer lies in the purpose of these “weapons.” Foils (in the French school) were not designed as exact, yet blunted replicas of the sword but rather tools to teach the principles, dexterity, and movements required to use the sword. For example, French figure 8 guards teach the student to sufficiently turn their weapon and place the guard against their opponent’s blade when defending or attacking (in accordance with French fencing theory). The fencer must learn to manipulate the figure 8 guard to be successful fencing with it (that is to say they learn the system by using the correct weapon). That learned manipulation is the goal of a foil’s construction.
The cant on a French foil serves the same goal. When given a straight canted foil, a beginner will not be inclined to widen the lateral positions of sixte and quarte. They will instead fence with their hand towards the center because a straight cant encourages that. A straight-canted foil also won’t point toward their adversary when properly executing French hand positions; they will fight against the foil to do the technique properly! If a student develops the ability to use a canted figure 8-guarded foil, then they’ve learned the principles of offense and defense needed to use a French dueling sword or French smallsword properly. It’s been this way for a long, long time.
In short, French weapons are canted because French fencing technique requires it. Learning any system of fencing requires the tool designed for the task.

You’ve recently switched from selling complete weapons and parts, to just complete weapons. Why the change?

On the business side It was quite expensive to stock the parts and materials to make such highly customizable weapons. For each single sword I had to stock all the possible guards, leather colors, blades from various producers and at various lengths, pommels, and much more.
Concurrently, I noticed disturbing market trends which reminded me how quickly, without vigilance, classical fencing can turn into sport fencing, and customization may have been helping. Customization in part allowed for individual interpretation of (and deviation away from) 19th and early 20th century fencing technique. Because the tool and the application are dependent on each other, I determined it best to no longer customize as the survival of historically accurate technique depends on historically accurate weapons.
We know that fencing plays a big role in your life and businesses. How do you incorporate your personal training in such a busy life? 
The work-life balance is always difficult for business owners. Assembling the swords takes no time compared to web-design, product design, client communication, part re-orders, bill pay, business licenses, sales taxes, etc. I’m very lucky, though, that I also run a fencing school in San Francisco called the Golden Gate School of Arms. This means I still get to fence regularly and know exactly where I need to improve.

What does your typical day look like?

It starts with lots of coffee. My coffee maker is the most important tool I have. Sometimes morning coffee is the only reason I’m excited to go to sleep. The day proceeds with clerical work before heading to my workshop in the afternoon. There I saw wood, polish metal, and advance my order log forward. On the best evenings I button up the shop and head to my class, where I teach a great batch of students with weapons I built and put in their hand.
Bonus Question –
As someone who makes (and likely collects swords), what are 3 of your personal favorites in your possession and why? (these can be swords you’ve made yourself or bought/acquired)
I actually only have seven swords! Three of which are mementos or gifts from retiring fencers. Of the four I use, my favorite is the Meriginac foil I teach with – a little heavy on the point, but handles just the way I want it to. My truly prized possessions are in my library: a copy of “La Manufacture d’Armes Blanches du Klingenthal” which I had to go to Klingenthal to buy, and a signed copy of “The Code Duello”, by A. W. Paterson which was surprisingly and very generously given to me as a gift.
For more information on Benjamin Bowles and his company Benjamin Arms visit the following links:
BenjaminArms.Com
GoldenGateArms.Com
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Gracie Jiu-Jitsu Advance, NC

Posted in Jiujitsu, Miscellaneous, News, OFFERS with tags , , , , , , , , , , on February 27, 2017 by bradvaughn

gjj-advance-promoGracie JuiJitsu is located at 160 Webb Way in Advance, North Carolina.  Contact Brandon Vaughn and advantage of their 10-Day Free Trial.

10 Questions with Samantha Swords

Posted in 10 Questions, Fencing, Swordsmanship, Weapons with tags , , , , , , , , , , , , on February 22, 2017 by Combative Corner

samanthaswords

What got you into swords and sword fighting in the first place? And how did you become “Samantha Swords?”

I’ve always loved European swords, from a really young age. I wasn’t interested in other culture’s weapons, or satisfied with what I saw in movies or the reenactment world. When I discovered in 2006 that there was a rich martial tradition around medieval swordsmanship, I felt it was confirmation of something I had always known deep down, and I could focus my passion into research and training.

In 2012, I had a big break after we wrapped on ‘The Hobbit’ and I decided to prioritise my work as an artist. I started new social media accounts for sharing my illustration and my activities, and used the nickname I’d sometimes been called when people were saving my number in their phones- it was how some of my friends thought of me. So when I started to get noticed the next year, everyone used the name I had on my accounts. It stuck! I’ve always been clear that it’s a nom-de-plume, but it’s easy to remember, and a great description of what I do.

What was it like and what was your role in the famous Weta Workshop?

It was wonderful working with the team at Weta. The workshop gathers such amazing, world-class artisans, and the level of skill and creative potential under one roof is phenomenal. It’s full of contrasts though, because you have the boundless creativity of the people and resources, but it’s all constrained by the limitations of a practical film production. No project is ever the same, and the team have to adapt constantly to new challenges. It’s not exactly restful! I think that’s what makes it so truly great, though, is being able to thrive under that constant pressure.

My role was ever-changing. Weta have dozens of fabrication departments and when I first got started, I didn’t have a particular specialised background. So I went wherever there was need for a technician. Over the years I got to work with props, costumes, armour, prosthetics, metal, wood-work, the leather room, sculpting and 3D modelling, the miniatures department, painting, molding… I can’t quickly name all the jobs I did, but I had exposure to most of the areas of Weta. Learning under all those top artists in their fields was an extraordinary experience.

Also, being in an environment of shared excellence teaches you that once you hand over what you make to someone else, it’s no longer yours. That’s a really important lesson to learn as an artist, to value the skill over the object, and to not take what happens to your work personally.

From the looks of your social media, you engage yourself in many different martial art experiences. Some people fear “jack of all trades, master of none.” What’s your opinion?

Well, I’m definitely a Jack! I think there’s no problem with increasing your knowledge and skills in all areas as long as you know what is most important and can commit to doing it professionally when that skill is needed. As a freelancer working in a competitive, highly-creative and also punishing industry, being able to adapt and upskill fast is vital in order to thrive. That behaviour might be damaging in a more stable career, and I can see how the idea of being a Jack could be threatening to many people. It’s uncertain and risky, and requires a lot of energy to be able to constantly adjust to new challenges. Ultimately, if you are a Jack, I think it’s important to be able to know yourself and to be aware of whether the kind of growth you’re doing is about avoidance of a difficult challenge, or exploration of an exciting new area that could bring knowledge and perspective to what you do.

In 2013, you entered and won the Longsword division in the Harcourt Park Jousting Tournament. What was that tournament like? And was that different from any of the other events you’ve done in the past?

The tournament was part of a much larger, established sports event which centred around jousting, and brought competitors from maybe ten different countries. In previous years the longsword and other ground martial arts had drawn a large pool of fighters, but for several different reasons it was much smaller in 2013. I wasn’t thinking about winning at all, just wanted an opportunity to test my training and so I was very relaxed about the whole thing. It was very different from my other competitions, which had felt much more stressful, and each time I’d really cared about the results. My tension always worked against me, of course, so not fretting about the event was the best thing I could do.

The judges running the 2013 event were testing a new rule set as well. It favoured defensive fighting to avoid the constant mutual strikes that plague many weapons-based tournaments. In my year, we all started with hit points and had to defend them, rather than the usual method of claiming points from an uncooperative opponant. It emphasised caution, self-defense and was completely suited to how I had been training.

The story of me winning that event has really got a life of its own. Even though I’m proud of how I fought that day, it’s been extremely odd to have so many people focus on only that, especially when there is so much more going on in my life and in the HEMA community.

Since that winning the longsword tournament, have you ever considered continuing and competing in HEMA competitions? If not, how come?

I’m not huge into competition at the moment. When I was actively competing, I was much younger as a martial artist and all I wanted to do was fight! That was fun for a few years, but once I understood how hard it is to actually judge competitions, my interest shifted into learning good self-defense rather than being good in the ring. They’re quite different ways of fighting and training. Much of the dominant HEMA scene is centred around large, impressive competitions, which is terrific for expanding the community! It’s so exciting to see how large we have grown in such a short time. I feel bad that I’m not interested in going to them right now, but even before I’d gotten well-known, I’d decided to take a break and focus on other areas of improvement. Currently I really enjoy smaller events where people can share their training and spar informally, and test things out. There’s so much I want to learn.

What style/method of longsword do you study (or have you studied)? What made you gravitate to this style and/or stick with this style?

I love Fiore Dei Liberi’s tradition, and the Getty Manuscript. The wealth of anatomical information that ‘The Flower of Battle’s artist included is extraordinary, and I feel it’s still largely untapped. Also, it shows an efficient and practical system that’s more about the fighter than the weapon they’re using. That approach really appeals to me now. That’s such a turnaround from when I was young, where all I wanted was to learn about the sword. Now, I want to understand everything around the sword as well.

Being in the film industry as well, what parts have you played and what part was your favorite so far?

In the film industry, for every movie that gets made, there are at least five that don’t. Most of my favourite acting parts have been for productions that have fallen over. And, because of the high level of confidentiality, you can never talk about them or take photos or anything. Not including theatre, all my favourite roles have been for films that were put on the shelf. Sorry! All I can say is that they have been action-adventure characters who have a bit of depth to them, and I loved that.

How do you juggle your life – with acting, sword-making, writing, traveling and instructing?

Juggle is a good description! Some times of my year are busier than others, and I have to work very hard to stay on top of different commitments. I put a lot of hours into everything, and cut out the things I think are a waste of my time so I can focus more on what’s important. Sometimes I don’t mean to cut things out, but they just drop off the side anyway. For the most part, my work is project-based so I have a clear start and end, and can fit my different activities around that in block periods. Having seasonal interruptions does get frustrating when I want to build on something over a long period, though. And it makes it really hard to train. I have to be flexible about how and where I practice, and be disciplined enough to keep it up when I’m away from traditional training places. It’s not easy, but I love that I get to do so many things.

For anyone wanting to get into historical fencing for the first time, what would be your advice?

Find someone or something to get you started, and make time in your week to practice. Having a clear inspiration is important, as well as a space you can go to learn. You don’t need a club, but it does help. Most swordsmanship clubs are warm and welcoming, but if you feel like it’s not a good fit it’s okay to look elsewhere. If you’re nowhere near a club, you’re in good HEMA company: so many groups begin really modestly, with a few people figuring out how to fence together in the middle of nowhere. As long as you have clear safety practices, there’s no reason you can’t set something up yourself. There is so much support online- the HEMA Alliance will guide you to good resources.

Get the best tools and equipment you can, within reason. You can always sell it if you find you don’t want to commit to swordsmanship long-term. Having good tools will help your education more than anything other than a good teacher. If it’s your first time using weapons, practice control and coordination before applying speed and power. Accuracy is much more subtle in sword arts, and an inch of contact with a sword is much more lethal than the same with a kick or a punch! As much as you can, always reevaluate and test what you’re learning. HEMA grows from individuals taking on research and challenging what they find. That’s part of the excitement, too- we all have a chance to contribute to genuine exploration of something nearly lost in the past.

Apart from your profession, what else does Samantha like to do in her free time?

Anyone following my Instagram knows that I have a great love of animals, as well as getting out and about. When I’m at home I’ll read or draw or play video games or watch Netflix, often covered with several of my rats. They’re really loving and intelligent and bring me a lot of joy. I like fixing things, or making new things from broken ones. I also adore going hiking or snowboarding, and when I can I go into the mountains for a week. My responsibilities make that hard at the moment, though.

 

What is your favorite fictional character and why?

My favourite character of literature is Lisbeth Salander, from the Millennium trilogy. She’s extremely strong, fierce, wildly intelligent, free of doing what people expect of her, and wants to be left alone. She’s an androgenous anti-hero and I never get tired of reading those books, even though they cover very difficult subject matter. I don’t feel as attached to the movies, although I like the casting choices in both the Swedish and American versions. My next favourite character is Hobbes, of Calvin and Hobbes. I feel I don’t need to explain him, though.

We’d like to thank Samantha for providing answers to these questions and if you have any additional questions, please comment below and perhaps we can have her answer them in the near future.  If you want to learn more about her, you can find her on Facebook and Tumbler. 

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10 Questions with Daria Sergeeva

Posted in 10 Questions, I-Liq Chuan, Internal Arts, Martial Arts with tags , , , , , , , , on February 4, 2017 by Combative Corner

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How did you come to find I-Liq Chuan and why did you choose ILC over other martial arts?

It was in the beginning of 2004 when I met my teacher Alex Skalozub. I believe I am a lucky person because of the opportunities I have had in my life. I visited the KANON gym in Moscow with my friend and Sifu Alex was there training some students. The process caught my eye. So I started to come very often, talked with Sifu Alex, watching his way of teaching, his approach to students, his point of view of daily life. I felt that this interesting person can improve me, and bring me to a very high level in martial art and esoteric philosophy.  After few months I decided to become his disciple and I was accepted as his student. He is a very intelligent teacher and always gives new students the chance to start properly. I was very happy with being accepted as a disciple of Iliqchuan style.

In the martial world, master Alexander Skalozub is my Sifu. His teacher, grandmaster Sam Chin (Chin Fan Siong) – is my Sigong. I met my Sigong after my first week of Iliqchuan training. He comes to Russia twice a year. I met him at the May workshop that he led. I was a pretty new student with only one week experience, so I asked if I could help out during the workshop. I recorded everything he showed, 8-10 hours each day. So I saw all the information and demonstrations through the small “eye” of the videocamera. I remember my feeling very clearly:  I could not understand even one word of the grandmaster! But… after 5 months when he came back to Moscow in November I was already European Taichi Push Hands Champion. That was my first step on the way of competition life. And in November I could already asked questions about Iliqchuan and was able to listen and understand some things.

Iliqchuan has a very interesting approach to mind and body work. Everything is through recognizing and seeing the natural and looking deeply into the fundamentals of the processes. From the first lessons I learned how to direct my attention, how to unify myself, and to use myself, like a tool, for any task. My first wish was to be able to fight. But I “learned how to learn” first. Then I was able to fight. Then I was able to talk and listen to people and the environment. Then I was able to work better. When you can control your mind, you can control your body. When you practice martial arts as a way of investigation of your abilities and seeing Nature, then you can apply it to every moment of your life. Iliqchuan is called a Human art. This is way of life for me. No aggressive. Powerful. Soft. Relaxed. Very precise.

You have been in several competitive fights (against Sanda and Muay Thai fighters). Do you see a difference between a traditional MA training approach and training for competition? If so, how did you bridge the two training approaches?

In the olden days traditional martial artists very often tested their skills on the street but now, fortunately, the situation is different. You cannot just go to the street and fight with people – this is illegal in most countries. Instead you can go to competitions and meet strong opponents who want to kick your ass 🙂  So you can test your skills a little.

To be able to fight under different competitions you need to know yourself very well and have the right mental approach to  the training process. Also you need to choose the competition with rules that are compatible with your training process and allow you to manifest the skills of your style. It depends. If you have a choice, it is better to have experience fighting in competition. It doesn’t matter what kind of competition. Full contact fight or wrestling or doing the form of your style. For me (and for Iliqchuan students) going to compete is a part of the training of our mind. We go to see how our mind works in different stages of this process: when you make the decision to fight, then may be how your concentration changes during competition training, what kind of bull shit inside yourself will pop up before you go into the ring to fight, then during fighting, then what is in your mind if you won or what is in your mind if you lost – and what is in your mind during “post-fight party”. So for me, competitions create the conditions for me to see my own mind better.

For me, the approach of training will be the same as for traditional martial artist but with adjustments for different rules. More wrestling or more sparring under competition rules, increasing stamina a little because I may need to fight a few rounds. And more meditation…

After having studied ILC long enough to establish yourself as a respected instructor, what advice would she give to your younger self?

Thank you for this question. Thinking about this, I don’t have any advice for this girl. She has taken action in her life and I am just grateful to her for this.

What is it like training under her teachers Alex Skalozub and Sam F.S. Chin?

Any interesting/fun anecdotes that offer a glimpse into the training experience under these sifus?

Actually I wrote a lot of interesting short stories during my first few years of learning Iliqchuan under my Sifu Alex Skalozub. They are on our web-sites and had more than 1 million viewers 🙂 . May be I need to publish a small book of funny stories from this period of my life.

Ok…I call myself “Lucky Jar.” I eat from two plates. I drink from two sources. My jar has no bottom. When my Sigong or my Sifu teach or talk to me – my two eyes watch, my two ears listen. Becoming a reciever- that’s my job. To be “hungry-for-everything” – that’s my state of mind. To be “changeable-for-everything” – that’s the state of my body. To be “clear-of-no-doubts” – that’s the state of my heart. I try my best with these things. I am a stupid student mostly, but good enough for something :).

“First Zen” – story with my Sigong Sam Chin:

The first time I met grandmaster I asked him:

How many hours a day do you training?

I was very interested to hear his answer and concentrated hard.

I do not train. At all! – Grandmaster Sam Chin looked very serious. He make a long pause. My mind raced. I didn’t know how to respond to him so I just stayed still and silent like a stone.

Immediately grandmaster slapped me hard on the back and laughed loudly.

I train 25 hours a day. Every minute. – He says very quietly to my ear.

Later he taught me how to do it using my mind control with the breathing.

“Beyond The Words” – story with my Sifu Alex Skalozub:

Would you like a cup of tea, Sifu?

Yes, please. Use my small cup.

I walked to the kitchen and remembered that we had a coffee and milk too and decided to return and give my teacher the choice. I turned back to the room and before I open my mouth to say something:

Excuse me, we…

Yes, please, coffee with milk.

Later he taught me how to receive information through other forms of contact than verbal expression.


I-Liq Chuan is called the “Martial Art of Awareness.” How does one train awareness in the context of martial arts?

Awareness is the key to all doors. Seeing cleary. No reflexes or weakness which your opponent could use against you. No surprise from your opponent. All your movements will be born from direct knowing from the Present. In Iliqchuan we use 15 special basic exercises to recognize the 5 qualities of the Body Movement to Unify our Body and Mind. We use Iliqchuan Spinning and Sticky Hands to unify with our opponent and be able to apply Chinna and Sanda. All training should follow the right philosophy, concepts and principles. We have 6 physical points and 3 mental factors which we must maintain in all our practice, to achieve the “One Suchness Feel.”


Some people say that it looks like Tai Chi. What similarities do they share and what makes them different?

We should not confuse the art of Taijiquan with the principles of Taiji. Taijiquan and Iliqchuan are both based on the principles of Taiji. Both style use principles of “no-resisting and no backing off”, Yin and Yang. Both styles involve practicing relaxation, harmony and balance, using Chi energy flow and are very good for health.

I am not going to talk about other styles, I will just list a few examples from Iliqchuan then you can easily compare:

Absorb/Project, Condense/Expend, Concave/Convex, Open/Close, 3 Dimensions as a mechanism of body movement.

no reflex, no techniques

no “Push Hands” (but we can participate in “Taiji Push Hands” competition, in Sanda or Muay Thai rules, and so on)

Approach: Zhongxindao – the way of neutral.


What makes I Liq Chuan’s version of push hands different from Tai Chi’s version?

We do not have push hands in Iliqchuan. The Iliqchuan system consists of 3 parts. The first part is philosophy, principles and concepts with meditation of awareness. The second part is unifying mental and physical. That is the 15 basic exercises, the Iliqchuan 21 Form and the Iliqchuan Butterfly Form. The Third part is Unifying with the Opponent and Environment. That is Spinning hands, Sticky Hands, Chinna and Sanda.


Do you practice any weapons forms and if so, what’s your favorite and why?

I don’t do much with weapons forms. Instead, I prefer to take a stick or something and do some sparring exercises.


What do you enjoy doing outside of the martial arts?

There is no “inside” or “outside” of the martial arts – Iliqchuan Zhongxindao for me. Iliqchuan Zhongxindao is my way of life and shows me how to enjoy the life.


What is your future goals in martial arts? (for example: will you be building an Academy in Russia)

I am going to conquer the world!!!

My inner world of course. 🙂

We already did a lot to build the Iliqchuan school in Russia and Russian-speaking countries. Of course we will keep going and I will do my best as a disciple of my teachers to help to promote Iliqchuan all over the world.

Every year we do a lot of international events open to everybody, for example the International Iliqchuan Summer Camp in Russia. For 2 weeks, around 9 hours a day, anyone who wants to study martial arts in depth can come and train under master Alex Skalozub and me – together with iliqchuan students from around the world. And we run this every year.

I am very open to try new projects which will help us to share our skills with others, and show the beauty and uniqueness of Iliqchuan Zhongxindao. I have a lot of ideas in mind.

www.iliqchuan.com

Bonus Quesion: As a student that enjoys the art of combat, and who has personal experience in the ring and competition, who is your favorite fighter/athlete and why?

I like a fighters/athlete with both martial art skills and martial morality. For me this is important. If somebody has a skill but only behaves well “for show”, I don’t admire them. If somebody has a less skill but high level of martial morality, I will respect them much more. And I really love meeting people with a good balance of body and mind. And not necessarily in the martial world. The term “Kungfu Master” is applicable to any kind of skills. 🙂

But ok…when it comes to well-known sports fighters/athletes I like: Fedor Emelyanenko (spirit, calmness), Roy Jones (relaxation, free mind), Buakaw Por Pramuk (timing and spacing), Miesha Tate (persistance) and others.

Thank you for the questions, thank you for listening,and my best wishes to everyone!

Daria (Dasha) Sergeeva

Thanks for Eric Ling for editing

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