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To All Tzu Jan Martial Art Students and Instructors: As you all know, the absence of a Formal Curriculum in one of our Core Arts has led to a great deal of conflict within the Arts practitioners and I have been struggling for some time to create a Formal Curriculum that is both comprehensive and flexible in an attempt to ensure that Tzu Jan Martial Art does not suffer a similar fate. This curriculum supersedes all other curriculums that may have been created prior to today's date September 1, 2013. All Rank that has been earned in our school prior to today's date precedes the creation of this curriculum and is still valid. However, additional rank advancement will adhere to this newly created curriculum. It is important to realize that the formal curriculum stands primarily as a tool to ensure consistency in the quality of instruction that is provided at our school. It serves as a guideline for advancements in rank and ensures that all of our Instructors are provided with a clear, reproducible method of explaining the Universal Combative Principles and how they apply to any Martial Art or Combative Sport/Discipline. Please remember that the point is in embracing the Art as a Whole. The Formal Curriculum is meant to ensure consistent quality in teaching by providing a set of qualifying standards for those who would be Instructors in our approach. It is meant as a guide for the individual Martial Artist; not as a set of confining instructions. Please avoid taking a this is the only way attitude it prevents clear understanding and limits your growth, the growth of your students and the growth of our Art. Thank you for your consideration. -Sifu Charlie Hicks / Founder: Tzu Jan Martial Art Institute

Tzu Jan Martial Art Formal Curriculum

Sifu Charlie Hicks / Founder July 22, 2013 - Charles Hicks Tzu Jan Martial Art is a principle based approach to the study and practice of Martial Art that embraces the subject of Martial Art as a whole. While our Universal Combative Principles may be used effectively to improve a Martial Artists skill in any combative style or sport, Tzu Jan Martial Arts Formal Curriculum utilizes the three Core Arts that our approach evolved from to teach these Universal Combative Principles. This will ensure that future generations of Tzu Jan practitioners will continue to receive instruction that is both consistent and of the highest caliber. About the Formal Curriculum: First of all, it is important to understand that training in any Combative Sport or Martial Art follows four basic levels of progress that a pupil passes through in the acquisition of skill: 1. Novice This is the beginner. At this level, the student learns the most fundamental techniques and principles of our Art. The Novice level encompasses the Ranks of White Belt, Yellow Belt and Blue Belt in Tzu Jan Martial Art. It is also indicated by the wearing of a white shirt with black lettering as part of our formal uniform.
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2 2. Technician At this level, the student knows some fundamental techniques and principles, but may need to refine their mechanics. They are also acquiring new techniques and skills.. The student also learns basic application of techniques in controlled situations and performs exercises (including meditation and awareness exercises) designed to develop and enhance the qualities/attributes involved in the successful use of techniques and application of Universal Combative Principles. This level encompasses the Ranks of Green Belt, Purple Belt and Red Belt. This level is also indicated by the wearing of a blue shirt with black lettering as part of our formal uniform. 3. Expert - At this level, the student understands the application of techniques and counterattack and the training focuses on the progression to live application of techniques and sparring, competition or simulated combat drills. The expert level student also develops a clear understanding of tactics and generalship, and engages in a philosophical exploration of the Martial Way. This level encompasses the Rank of Brown Belt and 1st Dan/Black Belt (Apprentice Instructor). It is also indicated by wearing a black shirt with blue lettering as part of the formal uniform. It is important to note that the 1st Dan/Black Belt level indicates a mastery of the basic techniques and principles of Tzu Jan Martial Art and does not certify a student to teach independently. It is the level where the student learns to master the progressive application of Tzu Jans Universal Combative Principles in the fields of Traditional & Competitive Martial Art, as well as in Self-defense. It is also the level where the student leans how to teach effectively and how to convey what they know to others in an effective manner. In Tzu Jan Martial Art, 1st Dan is where you begin to train to be an Instructor. Details on the 1st Dan/Black Belt Rank will be discussed in the Instructors Addendum to this curriculum. 4. Instructor - At this level, the student broadens their exploration of the Art and the Way as they begin to effectively transmit what they have learned to others. They also learn how to be a great representative of their Art and of Martial Art as a whole. This Level is indicated by the inclusion of an Instructor patch on the formal uniforms right sleeve and the inclusion of blue stripes (one for each Dan level) on the belt. (Full Instructors start with two stripes; 1st Dan Black Belts may include a single stripe on their belt if they wish, but it is not mandatory. Dan Ranking in Tzu Jan Martial Art Range from 1st Dan - 6th Dan; with 6th Dan being reserved for the Founder or current GrandMaster of the Tzu Jan Martial Art organization. More details on various levels of Black Belt and their requirements are included in the Instructors Addendum and Instructor Guidelines that are presented to aspiring Instructors upon earning the Rank of 1st Dan.

* In Tzu Jan Martial Art, we honor our Martial Heritage by teaching Universal Combat Principles through an exploration of the three Core Arts that our own Art evolved from: Wing Chun Kung Fu, Jun Fan/JKD and the Filipino Martial Arts (Kali/Escrima/Arnis). The point is comprehension of the Universal Combat Principles. The techniques that we learned through our three Core Arts are simply a vehicle for teaching these principles while honoring our heritage. The same principles can (and should) be applied to any study of Martial Art, Combative Sport or Self-Defense.

3 The formal curriculum in Tzu Jan Martial Art is designed to ensure consistency in the transmission of our art to future generations of student. It is not intended to confine the student's exploration of the Martial Way to the limitation of our three Core Arts. Remember - Tzu Jan Martial Art embraces Martial Art as a whole!

Universal Combative Principles: The principles of Tzu Jan Martial Art form an effective system of individual expression of Martial Art. These principles are equally effective for self-defense or competitive Martial Sport and enable the practitioner to adapt immediately to the size, strength and fighting style of your adversary. There are many different applications of the principles, but they are essentially very simple. The practitioner must study diligently and practice often to train their bodies to follow the principles instinctively and understand their progressive application in a wide variety of situations. In addition to learning to apply the principles reflexively, there is a specific progression that the practitioner of Tzu Jan Martial Art should follow over the years of training and acquiring skill: 1) Training for proper form and a great deal of punching/kicking exercises and drills to learn to be relaxed in combat or competition and to punch or kick without tension. 2) Long hours of sensitivity and awareness training; including chi sao and other yielding exercises so that the practitioner will be able to yield to, and exploit, the opponents strength and force. 3) Close Range Technique Training and the use of Joint Manipulation, Trapping/Immobilizing, Close Range Striking/Leg Techniques and Pressure Point Striking, Balance Disruption, Stance Destruction, Takedowns and Ground Techniques (and Anti-Grappling). Likewise, Weapons Training progresses from the longest possible range to the closest and from Double Weapon to Single weapon to Unarmed. The point here being that movements that have to travel farther take longer, allowing the beginner more time to learn the appropriate reactions. As the student progresses, distance is lessened and time is shortened which demands a faster and more reflexive response. 4) Application of techniques and principles over a wide spectrum of circumstances, including what if scenarios for every basic technique. Drills and exercises designed to develop the practitioners ability to adapt to ever-changing circumstances efficiently and effectively including Chi Kung training and supplemental training of the body, mind and spirit. 5) Comprehension of the elements of Attack and Counterattack, as well as a comprehension of combative tactics and generalship.

4 Tzu Jan Combat Principles: 1. Balance The practitioner of Tzu Jan Martial Art strives to maintain balance at all times. Balance is not purely physical; it is also mental and emotional. For the beginner, try to avoid movements which tend imbalance the body. Stay neutral and poised to move freely in any direction. Keep a balance in your awareness and concentration as well. Never be purely offensive or defensive -always have offense in your defense and defense in your offense. Consider totality. 2. Obstructing/Monitoring Monitoring and balanced awareness go hand in hand. Simply put, keep your weapons between the opponents weapons and you. This forces them to move either around or through your guard to attack you. If they try to move around your guard; intercept them by delivering an economical attack on the now open line. It should be added that Monitoring should become habitual and reflexive. Even when you are in the midst of an attack, you should always be watchful of the opponents weapons and make sure you have something obstructing their most direct lines of attack. 3. Economy Unless there is a good tactical reason for doing otherwise, the practitioner of Tzu Jan Martial Art always strives to make the most efficient use of energy and motion, as well as taking the most direct lines to the target with blows and kicks. Similarly, we utilize simultaneous attack/defense in our awareness and apply the concept of simultaneous attack/defense to combative techniques whenever possible. This helps us to be structurally faster and more efficient than many other approaches. Economical use of physical motion and energy in the performance and application of techniques, however, is only part of the equation. This Principle applies to the use of mental and emotional energy or movement as well. 4. Adapt - Learn how to adapt yourself harmoniously to the movements of your opponent, and the movements of the world around you. Remember, when it comes to combat everything that you do depends on what your opponent does. You must learn how to harmonize with the timing of all of their movements so that you can fit in and be successful. You have no set plan; the strengths, weaknesses, and timing of your opponents movement will determine your combative movement and strategy. 5. Keep your energy flowing forward Advance immediately and attack into the opponent's attacking movement. Merge with them. When you make contact with the adversary's guard, keep pressure forward (toward their centerline) to inhibit their movement and force them to move around you. When you feel emptiness hit. Keep a continual forward pressure on your adversary and keep going until they go down or fight back. Utilize simultaneous attack/defense at every opportunity. 6. Stick to the opponent's centerline, not their arms - The centerline is the central axis of the body from which all movement originates. It is the key to keeping control of a superior position. It is also the key to disrupting or uprooting an opponents balance. One of the main points here is that you keep your forward pressure towards their centerline and do not always try to follow their arms -this is especially true in regards to forearm contact that happens prior to trapping or grappling. Strive to always face the opponent's centerline (unless there is a tactical reason for doing otherwise) and learn how to turn your adversary on their axis when you find yourself unable to score with your strikes and other attacks.

5 7. Monitoring - This is a fundamental principle in Tzu Jan Martial Art that can be applied to any form of Martial Art or combative sport. The simple rule is this: as long as you keep your weapons between your opponent's weapons and you and you keep facing their centerline, they will be forced to move around your guard to hit you and, therefore, will not be able to attack you without exposing themselves to a more immediate and direct attack. As they try to move around your guard, lunge in and beat them to the punch with straight-line striking or kicking. 8. Yield to a greater force - You will not be stronger than everyone you encounter. Since this is a fact, we have to train in such a way that it enables us to gain the upper hand against an adversary that is physically stronger than us. Tzu Jan Martial Art utilizes body geometry, leverage, and timing to accomplish this. Through constant training, we learn to absorb and redirect the opponent's energy or force - in essence leading them in the direction of their own movement and helping them to destroy themselves. Awareness and sensitivity drills like Chi Sao and Push Hands are practiced to teach your body when to yield and find an appropriate angle for your counterattack. 9. Flow - each movement in combat, much like each moment in life, flows continually onward without hesitation or cessation. In Tzu Jan Martial Art, our combative movement adheres to this natural law by flowing seamlessly from one movement into the next without any hesitation. Each movements ending is also the beginning of the next. The primary principle here, both in combat and in life, is to move along and harmony with what is. This is the essence of our Martial Way Tzu Jan refers to a state of being where the mind stops striving and resisting and merely adapts itself to the life rhythm of the world around it harmoniously. 10. Accept and adapt to what is - The aim of Tzu Jan Martial Art is balance and harmony; within yourself, with your adversary, and with the world that surrounds you. In terms of combat, this means entering into the movement as it arises and moving in perfect synchronicity with your adversary. This allows us to adapt our movements, approach, watchfulness and emotional energy to the situation that faces us and respond with the highest degree of efficiency, regardless of the size and intent of our adversary or the form of their attack. 11. Embrace the Totality - When learning techniques, analyze the strengths and the weaknesses, as well as the timing. When exploring a particular style or system, do the same. Everything has its Yin and Yang - all styles and approaches (including our own) have strengths and weaknesses; just like the people who created them. Every style or approach is superior to the others in some way and inferior to the others in some way; just as everyone you meet is superior to you in some way and inferior to you in some way - this illustrates the balance of all life. This principle is explored in the greatest detail during Stage III (expert level) of your training in Tzu Jan Martial Art.

Energy Principles:

These principles concern the application of your own force as well as your reaction to your opponents application of force against you. Many of these principles were adopted from one of our three Core Arts; Wing Chun Kung Fu, Jun Fan/JKD or the Filipino Martial Arts 1. Give up your own force - a practitioner needs to be relaxed in order to move dynamically and react properly to the ever-changing movements of your opponent. When you are tense, your muscles work against themselves and your movement is less effective. Look at tension like a parking brake that must be released before you can move with coordination and skill. 2. Redirect your adversarys force - if an opponent wants to use strength and force to overpower you, do not try to overcome their strength and overpower them. Instead, nullify their force by moving away from it or guiding it away from you. 3. Help your opponent to destroy themselves- take advantage of the opponent's commitment (imbalance) and the force that they give you. If they pull you forward, use that energy as part of your attack. Dissolve their force and deflect it away from you and then let them run into your punch or kick. Let their aggression and the nature of their attack lead them to their own downfall. Flow into the void created by their attack. 4. Add your force to theirs - in addition to borrowing power from your opponent, you should also add your own. Learn to intercept your adversary as they move forward and always attack into a line that the opponent is moving into, rather than away from.

The Wing Chun Influence

*Many of the principles and techniques used in Tzu Jan Martial Art evolved from Wing Chun Kung Fu, one of our three Core Arts. Due to this fact, the practice of Wing Chun is a central part of our formal curriculum. The following guidelines will help the practitioner of Tzu Jan Martial Art more clearly comprehend our overall approach and will aid in the mastery of the Wing Chun portion of our formal curriculum. The Centerline Theory/ Theory of Facing: In Wing Chun, all movements originate from an imaginary line or pole that runs vertically through the center of the body. When faced from the front, the centerline runs straight down the center of the body in line with the nose and the tan tien. In combat, the Wing Chun practitioner faces their adversary nose to nose, or centerline to centerline. The practitioner's hands are placed on the centerline, creating a barrier between the adversary and the practitioner that the adversary must move around (or through) in order to attack. When they do, the savvy Wing Chun practitioner will suddenly lunge forward with an economical, straight line attack and intercept the adversary's attacking motion. The centerline also plays a critical role in organizing the practitioner's defense and in the application of simultaneous attack and defense.

7 When training begins, the practitioner learns to strike first at the vulnerable points on the adversary centerline. The practitioner also begins with straight punches (and kicks) as initial offensive techniques and learns how to make economical defenses at the same time that they are striking (or kicking) - a training approach that we mimic in Tzu Jan Martial Art. Most importantly, the use of the centerline in combative applications provides the practitioner with a simple, economical organization of their body that allows for a very direct and scientific approach to the application of combative movement. Immovable Elbow: in Wing Chun, the elbow is usually kept in a fixed position that is both one fists distance out from the body and one fists distance (either to the right or left depending on the elbow) from the centerline. This aids in the instinctive protection of both your centerline and your flank. It also serves as a pliable spring for trapping and the other hand attacks. By keeping your elbow in this position, it is always directly behind your hip as you strike. Remember, when your arms are pressed it is better to give way with your whole body completely than it is to allow your elbow to crush in towards your body. Unless there is a tactical reason for doing otherwise, do not violate the immovable elbow. If you do, you will lose critical leverage in both the dissolving of the opponent's energy and in the application of your own force. Simultaneous Attack/Defense: a combative approach that both blocks and strikes at the same time will be structurally faster than one that uses a block and then strike approach. This is the basis of simultaneous attack and defense. Whenever possible, you should intercept your opponent's attacking movement with a more direct punch or kick that beats them to the mark. Similarly, whenever you can combine defensive and offensive movement at the same time (such as in the first 8 of our 12 Monitoring positions) you will have an advantage in speed over an opponent who does not know how to do so. Above all, you should always maintain a balanced awareness. Avoid being so offensive that you fail to obstruct your adversary's ability to attack you and commit the mistake of leaving an open line. Also avoid being so defensive that you miss offensive opportunities because you weren't prepared to react. Trapping/Obstructing: whenever possible, grab, pin, check or control the opponent's limbs to prevent them from attacking you and to inhibit their movement. In Tzu Jan Martial Art, especially in the higher levels of training, concept of obstructing the opponents movement can be seen in every aspect of our combative approach. Even when we are not physically in contact with an adversary's limbs, we are obstructing the most direct lines between those limbs and ourselves. This forces our adversary to try to move around the obstruction in order to attack us which, in turn, provides us with the opportunity to intercept the attack with our own.

Tzu Jan Martial Art Formal Curriculum

Level / Rank
Novice: White Belt Yellow Belt Blue Belt Green Belt Purple Belt Red Belt Brown Belt Black Belt / Apprentice Instructor Black Belt (2nd Dan)/ Instructor Black Belt (3rd Dan) /Senior Instructor Black Belt (4th Dan)/ Master Instructor Black Belt (5th Dan)/ Administrative GM Black Belt (6th Dan) Founder/GrandMaster

Minimum Time / Grade

Two Months Two Months Four Months Four Months Four Months Eight Months Eighteen Months Eighteen Months Three Years Five Years No Minimum *Rank reserved for Administrative GM of Tzu Jan Martial Art *Rank reserved for Founder or current GM

Technician:

Expert: Instructor:

*Minimum time in each grade is mandatory, but time in each grade may be much longer. The Instructor must not only be confident in your techniques; they also move must be certain that you comprehend both the universal combative principles and philosophical principles that are necessary for each level. Furthermore, the Instructor must also be sure that the student is a good character and will represent themselves, Tzu Jan Martial Art and Martial Art as a whole in a manner that is befitting of their level and rank. It should be made clear here that any promotion in Tzu Jan Martial Art is a privilege that the student earns through diligent practice and proper conduct. Promotion to the next grade or level is not a right to which the student is entitled. All promotions (and demotions, when necessary) are at the discretion of the practitioner's Instructor and their Instructors seniors. Rank promotion can take as long as is necessary to ensure that the student achieves complete comprehension. **Dynasty Taekwondo students are involved in a condensed form of the curriculum that focuses primarily on the use of Universal Combative Principles in Filipino Martial Arts, due to the fact that we only meet one day per week for an hour or less. This condensed program has only three belt levels: White, Brown and Black (1st Dan). Those who achieve the Rank of 1st Dan through this program become Apprentice Instructors, but must learn the rest of the Tzu Jan Martial Art formal curriculum before they may advance to 2nd Dan. *** Apprentice Instructors and Instructors must read the Tzu Jan Martial Art Instructors Addendum and sign the Instructors Agreement stating that they will abide by the guidelines in the Instructors Addendum before they are authorized to teach in any fashion. Instructors who

9 fail to follow the guidelines in the Instructors Addendum may risk demotion in rank or have their right to teach our Art revoked by the Administrative GM or Founder/GM.

Tzu Jan Novice Level Curriculum

A. Wing Chun Kung Fu 1. Forms a. Sil Lim Tao 1) Movements and applications 2) Three energies 2. Positioning and Footwork a. Training Stance b. Bi-Jong / Fighting Position c. Fundamental Principles 1) Centerline Principle 2) Three Fronts 3) Immovable Elbow/Four Corners 4) Balance 5) Relaxation d. Footwork 1) Stance Turning 2) Four Step/Circle Step 3) Advance 4) Quick Advance (Kicking Step) 3. Striking a. Vertical Punches (direct, elbow down, from chest/centerline, hip behind elbow) 1) Singular 2) Chain Punching 3) Simultaneous Attack/Defense - Coordinate with Four Corners * Tan Sao/Strike *Guan Sao/Strike *Pak Sao/Strike *Low Pak Sao/Strike - Cutting Punches - Coordinate w/Stop Kicking 4) Lin Sil Die Dar and Sil Lim Tao *This means that any Sil Lim Tao movements with a forward execution should flow forward into a strike if there is no obstruction or no resistance is met. 5) Finger Jab to eyes 6) Palm Strike (vertical, side, low) 7) Backfist (to hit on centerline or to force an attachment or block) (coordinate with bong sao/lop sao) 4. Kicking a. Straight Stomp Kick to Knee 1) As they step forward 2) To obstruct an attempt at kicking 3) To bridge in for striking and to bridge out as you change from striking to kicking

10 4) As they step back from striking range

b. Straight Kick to the Groin (toe or top of foot) (as a counter or bridging attack) 5. Defensive Structure and Applications a. 4 Corners training 1) Tan Sao/Punch 2) Guan Sao/Punch 3) Pak Sao/Punch 4) Low Pak Sao/Punch b. Principles 1) Absorb and redirect (Tan Sao Dissolve; Bong Sao/Lop Sao-hit; Tan Sao/Lop Sao) 2) Intercepting -Low line kicking on step forward -Cutting punches 6. Core Techniques and Drills a. Bong sao/Lop sao elbow hinge (drill and application) b. Pak Sao/Da (Hit) 1) Attached hand drill 2) Defensive application from Tan Sao 3) Application from Guan Sao 4) Offensive application following straight punch. c. Jut Sao (drill and application) d. Jao Sao (drill and application) e. Feel drill 1) Energy on outside of centerline tan sao dissolves 2) Energy at centerline Pak sao/Da dissolves 3) Energy crossing centerline- dissolves with bong sao 4) Fook sao dissolve for inside line straight f. Dan Chi g. Chi Sao (poon sao, switches and basic attacks) B. Filipino Martial Arts (Kali/Escrima/Arnis) 1. Positioning and Footwork Fighting Position (Angled; squared) Female & Male Triangle Footwork Advance (Shuffle, Step-through, Angle forward lead, Angle forward rear) Retreat (Shuffle, Step-through, Angle back lead, Angle back rear) Sidestep (lead and rear) Cross-step (cross in front, cross behind) Ranges 1) Largo Mano - attack the weapon - attack closest targets first - angled stance provides narrow target; easier to defend 2) Sumbrada - guard hand can reach opponents weapon hand - make use of guard hand for checking/monitoring and zoning

11 - Simultaneous attack/defense obstruct or control their weapon as you strike - Squared stance provides better use of guard hand; alternate between angled stance and squared stance for leverage in techniques. 3) Hubud - strike with butt of weapon and use other close range techniques - isolate/obstruct opponents weapons or limbs - use to initiate takedowns, joint locks/holds and grappling - maximum attention focus is critical. 2. Basic Strikes and Defenses Single Stick 12 Angles of Attack + Abaniko Striking Striking Motions Largo Mano Defenses #1-#5 (meet and follow) Sumbrada Defenses #1-#5 (outside and centerline) Disarms #1 and #2 (single stick vs. stick, empty hand vs. stick) 3. Double Stick 12 angles with supplemental guard placement Abaniko with supplemental guard Figure 8 striking (standard and reverse) 4. Drills 4 count I-B (high inward, low backhand; low inward, high backhand) 6 count I-B-B (high/low/high and low/high/low) Sumbrada Flow Slow speed random defense drill Double stick Tzu Jan Monitoring Sinawali 6 (heaven and earth) Hubud Passing #1-#5 Mirror footwork drill

C. Jun Fan/JKD 1. Positioning and Footwork On guard position (Stance & alignment; defensive organization; progressive weapons) Distancing basics (brim of the fireline) (regulating stance & length of step) Footwork - Advance (Shuffle; Lunge; Quick Advance) - Retreat (Shuffle; Quick Retreat) - Sidestepping - Circling 2. Striking Finger Jab (lead/rear)

12 3. Kicking Side Kick Straight Kick (lead/rear) Toe Kick to groin Rising Kick to groin Round Kick (lead/rear) Back Kick Spin Kick Knee Strikes Straight Punch (lead/rear) Lead Jab Rear Cross Hook (lead/rear- to head; to body; overhand; corkscrew; shovel) Backfist Hammerfist Uppercut Elbow Shoulder press

4. Defensive Organization - Head (lead and rear inward and outward parries; catch and return; evade) - Solar Plexus/Torso (forearm guard or deflection) - Ribs/Sides/Lower Abdomen (elbow cover; low parries) - Groin (low parries inward & outward; stop kick; leg block) Low Line (evade; stop kick) 5. Drills & Applications - Catch and Return (jab;backfist;hook;cross;straight kick; round kick) - 4 Corners / 8 Basic Defense drills - Stop-hit / Stop-kick drills a) Straight Kick Interception (obstruction and vs. Round Kicks, Hooks and Swings) b) Side Kick Interception (obstruct and vs. advancing attack) c) Straight Punch Interception ( vs. Swings/Hooks; cutting; stop-kick to..) - Mirror Footwork Drills - Kicking Shield Drills (power/placement; intercept; pursue) - Focus Mitt Drills (placement; reaction speed; combination training) - Direct Attack Drills (on step forward; on engagement; on change of engagement) - Using the Neutral lead to explore reactions and create openings for follow ups. - Sparring Drills (slow/soft to 100%- Kick only;Strike only; limited; attached hand;free) - Fundamental use of Pak/Da, Lop/Da and Chain Punching D. Tzu Jan Martial Art 1. Forms and Formalities

13 2. Salute & JKD Curriculum(to honor our Suttle Impact JKD/Kajukenbo Heritage) Wing Chun Forms and Curriculum (honor WC Heritage) FMA Salute and Curriculum (to honor our FMA Heritage) Formal Etiquette and Rank Structure (to honor Martial Art Heritage as a Whole)

Positioning & Footwork No Stance Stance and Everyday positions Monitoring Fundamentals a) 12 Basic Monitoring Positions b) Obstructing Opponents Weapons (keep lines closed; proper reactions; thrust forward as the line opens c) Balance in movement; attention/awareness and emotional reaction d) Sticking to the opponents centerline - Proper Structure/ Body Mechanics a) Move from center b) Hips and shoulders move together c) Elbows and knees move together d) Hands and feet move together e) Synchronize movements for maximum leverage f) Use the nearest weapon to attack the closest target g) Use the nearest defensive tool to protect the area attacked - Footwork a) Unless there is a tactical reason for doing otherwise, move the foot first that is nearest to the direction you wish to move b) Unless there is a tactical reason for doing otherwise, both feet move the same distance so that your fundamental position is maintained. c) Unless there is a tactical reason for doing otherwise, take small steps to control balance. d) To keep a very precise distance, regulate the length and speed of your steps to match those of your opponent. - Clock Principle (in front of your nose is 12; used for positional reference for attack/defense) (turn and face opponent at all 12 points; economy kick attacker at all 12 points; economy strike attacker at all 12 points) - Tzu Jan 12 Reference Positions 1st Six (Matched lead: both hands outside their lead, lead hand inside/rear outside, both hands inside theirs, lead hand outside their rear hand/ rear hand inside, both hands outside their rear hand, both hands outside both of their hands (use as a positional reference for determining most economical attacks and how to protect exposed targets from each position) 3. Defensive Structure - Always simultaneous attack/defense: If you have to be defensive; have offense in your defense. When on the offensive; keep a supplemental defensive guard and a neutral awareness. - Monitoring is primary form of defense; evasion and interception are secondary forms - Move as late as possible in defense; this minimizes the possibility of your opponent taking advantage of your defensive reaction. It also draws their commitment in attack; leaving them more exposed for counters. - Introduce the concept of Neutrality & Balance in attack and defense.

14 Develop a sensitivity to opponents closing of range and practice evasion, interception and Monitoring with this sensitivity in mind. Make the proper timing of your defensive reactions instinctive by learning to execute them once you get the sense of impending doom.

4. Attack and Counter - Defensive watchfulness and Monitoring (keep lines of attack closed and thrust forward when opponent tries to move around your guard.) - Simple Attack a) Stop-hits and Stop-kicks on their step forward into range. b) Attack when they are changing position c) Superior Speed Attacks ( Move fast and sudden, non-telegraphic and direct) (Take advantage physical or psychological imbalance or commitment) d) Force Attacks (attacking their weapon; knocking aside guard/removing primary obstruction; shove and strike or kick) e) False Attacks (Progressive Indirect Attack; taking advantage of reactions; deceptive feinting) - Compound Attack (kicking combinations, bridging from kicking to striking, striking combinations: both self-defense and sport/competitive applications) - Counterattacks (for all techniques at this level) a) Proper timing on defense and counter b) Practical Application of counterattack drills c) Elements of Counterattack (their technique; how you avoid it; your counter) d) Basic Counters for Kicks (Monitor to counterkick; Monitor to counterstrike) e) Counters for Strikes (Monitor; Monitor to follow up kick; Monitor to strike) - Basic Self-Defense Techniques vs. (Rear bear hug, rear naked choke, lapel grab & punch, two handed front choke) 5. Understanding techniques - All techniques have strengths and weaknesses; there is a counter for everything - All techniques have four stages: initiation, transition, landing and recovery. Be ready to adapt to change at every stage. - You should ALWAYS have defense in your offense and offense in your defense. - There is a mental and emotional aspect to every technique and counter. Consider them. - Eliminate any unnecessary tension, effort or motion. - When learning techniques: first learn good form and self-synchronization, then learn accuracy and precision, then gradually speed up and learn power, then train to learn proper placement and synchronization with your opponent, then learn how to apply it in combative simulation drills with increasing variables and levels of intensity, then practice applying it in sparring and simulated self-defense scenarios. - When learning techniques, always ask yourself how many ways can I apply this effectively? and how many ways can I counter this technique? Experiment and find the answers to your questions. This will teach you the strengths and weaknesses of the technique and how to fit it into your own unique way of doing things. 6. Mental Cultivation/ Philosophical Discipline

15 Embracing Martial Art as a whole. Introduction to the Law of Harmony (Yin/Yang) Introduction to Meditation and Mental Cultivation Our Rank System and the Virtues of Bushido Tzu Jan Heritage, Mission Statement and Student Pledge Introduction to the Cycle of Liberation in Tzu Jan Martial Art

TZU JAN MARTIAL ART TECHNICIAN LEVEL CURRICULUM

A. Wing Chun Kung Fu 1. Forms: Chum Kiu (seeking the bridge) Movements & Applications 2. Striking Finger Jab Vertical Cutting Punches (to deflect and score or to gain an attachment to bridge) Direct Backfist Direct Hook Punches Knife Hand/Ridge Hand Striking Palm Strike Variations Elbow Strikes * Learn effective bridging from kicking to striking **Learn to use striking to bridge to trapping/immobilizations ***Learn the boundaries between yourself and your adversary and work from the centerline out. 3. Kicking Straight Kick (heel; rising; toe to groin) Side Kick Round Kick (top of foot to side of knee; toe to groin) Inverted (Lotus) Kick Inward Sweep Outward Sweep Buckle (matched and unmatched lead foot attachment) Upward Heel Kick (to groin) Knee Strike (straight in; hooking in; upward) *Learn applications and defenses/counters for each kick **Learn how to use long range kicks to bridge to striking, to bridge to close range fighting and to bridge into sweeping and stance destruction techniques. 4. Trapping Hand Techniques Vs. Primary Obstructions (Pak Sao/Da; Lop Sao/Da; Elbow Hinge) Vs. Secondary Obstructions Responses for: (1) Controlled inward parry (pak sao) energy straight across centerline (2) Excessive or strong inward parry/block hard energy straight across centerline (3) Jamming/Stopping block or check energy stopping and jamming back toward you; not crossing centerline

16 (4) Hard parry or block inward and downward forceful energy inward and downward or toward you, crossing centerline (5) Downward parry or check responses for downward energy against your striking arm (6) Outward parry energy contacting the striking arm on the inside and moving outward from centerline. * Trapping training begins with exercises and drills to develop proper structure and sensitivity to pressure on the hands and forearms. This is the basis for training and instinctive/reflexive response when trapping. At the Technician level, training then progresses to the application of the techniques from an attached hand position, with the Technician learning to apply each trap properly and learning to use the type and direction of the adversarys blocking energy to indicate the trap to be used. The training then progresses to application during Chi Sao exercises. Finally, Technician level trapping hands training culminates with learning to execute trapping from the attachment gained from the adversary responding to your strikes and from the attachment gained from your defensive response to the adversarys strikes. 5. Core Techniques, Drills and Principles Economy of motion and energy Sticking to centerline Continual flowing forward energy Present moment awareness Tactile awareness training Drills & Exercises (1) Solo Practice (2) Partner Training (3) Chi Sao (applications for trapping; combative relaxation; combative & moving; blind) (4) Sparring (controlled: learning to bridge from kicking to striking, from striking to kicking and from striking to trapping while sparring / live: slow motion, limited technique, free spar) Uprooting and sinking bridge training (1) Recovering the centerline (2) Uprooting and leverage principles (3) Cutting/chopping in on strikes and kicks (4) Sinking with fook sao and bridging B. Filipino Martial Arts (Kali/Escrima/Arnis) 1. Largo Mano Range Double Stick (1) 1st 8 Tzu Jan Monitoring Positions (defend and pass to outside; defend and occupy centerline (2) Traditional double stick defenses #1-#12 (meet & follow) (3)Figure 8 and Double Stick Sinawali/Flow Drills (forward figure 8; reverse figure 8; double stick Sinawali drills IBB 6/ BIB 6/ Heaven 6/ Earth 6/ Heaven & Earth 6; Double stick flow drill) Single Stick Defang defense for angles #1-#12 : meet or follow and destroy your way in.

17 2. Sumbrada Range Double Stick Progressive attack; stick trapping and combative flow from Monitoring Single Stick (1) Standard meet and follow defenses for angles #1-#12 (2) Stick vs. Stick Disarms for angles #1-#5 (3) Abecedario flow drill with disarm locations (4) Single stick sparring 3. Empty Hand vs. Single Stick Angles #1-#5 To disarm/disable To joint locking/breaking; to restraining hold or choke; to takedown Passing attacks from angles #1-#5 Disarm flow drills 4. Single Knife (Largo Mano and Sumbrada range) Inward high slash and counter Backhand high slash and counter Inward low slash and counter Backhand low slash and counter High thrust and counter Body thrust and counter 5. Empty Hand Hubud/Lubud drills, variations and applications Gunting and weapon destruction techniques Fundamental Panantukan (Filipino Boxing) C. Jun Fan/ JKD 1. Positioning and Footwork Identifying structural weaknesses in stances and footwork Using footwork to provide proper alignment and leverage Using footwork to provide control of distance 2. Defensive Skills Training (*pre-arranged partner drills and modified sparring to develop) Semi-live four corners training Kick defense training Evade and counter training Defensive organization drills Intercepting attacks 3. Simple Angle Attack (*Develop opening recognition and proper timing for simple attack) Kicking- timed on footwork and opening of line Striking timed on footwork and opening of the line Stop-hitting and stop kicking Angle kick or strike as opponent steps forward into range 4. Attack by Combination

18 Kicking combinations Bridging from kicking to striking Striking combinations Striking to Pak/Da or Lop/Da Pak/da or Lop/Da to striking combination Trap disengagement to kicking Striking to kicking * focus on developing a precise sense of distance and timing. **Learn how to time each progressive movement to take advantage of openings and weaknesses created by your opponents reactions to your previous movement ***Cover the closing and opening of range with a continual attacking barrage. 5. Counterattack Catch and Return drills for kicks and strikes Countering strikes with kicks/legs (counters for: jab, cross, hook ,backfist, uppercut and elbow) Using Strikes to counter kicks (attack the weapon; evade and lunge; intercept) 6. Trapping/Hand Immobilizations From Reference position #1 (Matched lead-high outside lead hand engagement) (1) Pak/Da Lead strike to Pak/Da vs lead high outside engagement; lead high outward parry/block to pak/da Responses to Pak/Da and Corresponding Traps (1) Opponent responds with a controlled rear inward parry rear cutting punch, trap (2) Response is a hard rear inward parry that violates boundaries elbow hinge, trap (3) Response is a rear inward parry that crosses center and pushes down and toward you elbow pin, trap (4) Response is a rear catch or check that pushes toward you but does not cross the centerline rear cutting punch to cross-pin and lead hit (5) Response is a downward push huen sao and cutting punch to pin with rear cutting punch to cross-pin with lead hit (6) Response is a rear outward parry that contacts your arm on the inside and pushes outward jut sao with rear cutting punch to cross-pin and hit Bridging distance with a low-line obstruction kick, lead strike to trapping as above Outside low reference to pak sao and high lead straight to trapping Outside low reference to pak sao and high lead backfist to trapping D. Tzu Jan Martial Art 1. Positioning & Footwork Strategic use of distance and timing in attack and counter (Draw step; Steal step) Recognition of positional weaknesses in opponents stance Recognition of timing gaps/cues in opponents footwork Maintaining proper distance and mirroring/ monitoring Moving into safe zones and positions of strategic advantage Forcing the opponent to have to step before attacking

19 2. Understanding the Centerline and Your Boundaries Economize your attack/defense. Move just enough to accomplish your purpose. Inward movement do not push beyond the opponents far shoulder or hip unless there is a good tactical reason for doing otherwise. Outward movement do not push beyond the boundary of the opponents near shoulder or hip unless there is a good tactical reason for doing otherwise. Control the centerline by occupying it When the path is unobstructed-hit!

3. Clock Principle Drills (* You are at the center of a clock facing 12. Each hour represents an angle that an attacker may approach from) Attacker approaches from various points on the clock. The defender responds with the most economical kicks and then flows on with their defense Attacker approaches from various points on the clock and the defender responds with economical striking and then flows on with their defense Attacker responds to multiple attackers coming from random points and at random intervals (Pit drill style training) 4. Monitoring and Secondary Lines of Defense Semi-live drills and sparring focusing on the application of Monitoring defenses and theory (primary lines of defense) Technique training for the use of slipping; ducking and evading with footwork (secondary lines of defense) 5. Examine all 12 Reference Positions for both strengths and weaknesses. Reference #1 Matched lead; both hands outside opponents lead Reference #2 Matched lead; lead hand inside, rear hand outside Reference #3 Matched lead; both hands inside Reference #4 Matched lead; lead hand outside opponents rear hand, rear hand inside Reference #5 - Matched lead; both hands outside opponents rear hand Reference #6 Matched lead; both hands outside opponents hands Reference #7-#12 : *as above from an unmatched lead 6. Attacking Fundamentals Always have balance in your movement, in your awareness and in your emotional state. Always have defense in your offense and offense in your defense. Maintain the brim of the fireline unless you are engaging or attacking the opponent. Use simple attacks to time gaps in the opponents footwork. Catch them in the midst of their step and as they are changing position. Use Monitoring to obstruct the opponents most direct lines of attack and to position your guard correctly as you are attacking. Keep a sense of neutrality and watchfulness in the initiation, transition and recovery of your simple attack. Always be ready to change direction midstream to adapt to their movements and reactions.

20 Use well-timed simple attacks to create defensive reactions from your adversary that create openings for compound attack or provide you with an engagement to create opportunities for trapping and immobilization. Learn the four stages of every technique (initiation, transition, landing and recovery). Correct any technical errors you may be committing in each stage. Also, learn what bodily targets are most vulnerable for attack ant each stage and be sure to protect them as you execute your technique. You should also use this knowledge to take advantage of errors committed by your adversary during each stage of their technique. (Points to consider: Balance and proper body alignment/leverage; eliminating unnecessary movement or tension; Monitoring at all times and the maintenance of a well-placed supplemental guard as you attack; Proper use of distance, timing and synchronization; Balanced awareness and present-moment focus; Recover out of reach or flow on with attack.) Develop a flowing continuity in all of your movements- especially in your compound attacks. Learn to bridge distance safely and effectively and use your position to your advantage. Move to where you are safe and they are not, and learn to bridge effectively from kicking to striking, from striking to trapping or in-fighting, and learn to bridge the opening of distance in the same manner. Develop the habit of constant offensive pressure, backed by neutral watchfulness and a well-placed guard, whenever you are within reach. 7. Counterattack Fundamentals Learn the three factors that influence your counterattack (1) The attack you are countering and the openings that attack provides (2) How you will avoid or escape the attack, and (3) the technique you will use to take advantage the openings and score with your counter Perfect the 12 Monitoring Defenses (1) High Inward Parry/Lead Strike vs. High Straight (2) High Inward Parry/Rear Strike vs High Straight (3) Low Inward Parry/ Lead Strike vs Body Straight (4) Low Inward Parry/Rear Strike vs Body Straight (5) High Outward Parry/ Lead Strike vs High Hook or Swing (6) High Outward Parry/Rear Strike vs High Hook or Swing (7) Low Outward Parry/Lead Strike vs Low Hook or Swing (8) Low Outward Parry/Rear Strike vs Low Hook or Swing (9) Lead Leg Obstruction vs Straight Kick (10) Rear Leg Obstruction vs Straight Kick (11) Lead Leg Guard vs Round Kick (12) Rear Leg Guard vs Round Kick Develop your Secondary Countering Tools (1) Slipping for Straights (2) Snap back or step-out/step-in for Straights (3) Catch and Return for Straights (4) Duck or Bob and Weave for Hooks and Swings (5) Guarding for Straights and Hooks Intercepting as a Counter (cut-over/cut under for straights; Intercepting for hooks and swings) Emergency Defense/Counter (Hubud for swings; circle-step/tan sao for lunging or charging straights; shoulder roll defense; head butt defense) Use Basic Counterattack techniques to bridge to..

21 (1) Compound Attack (2) Trapping and In-fighting (3) Joint Locking and Immobilizations (4) Takedowns Rules for Effective Counterattack (1) Move as late as possible with your defense to draw the opponents full commitment in their attack (2) Counterattack is easier to perform when you control your distance and timing by synchronizing your movements with those of your adversary. (3) Keep your guarding tools obstructing your adversarys weapons as you execute your counter and keep a neutral watchfulness throughout. 8. Basic Breakfalls (forward, backward, to the side) 9. Introduction to Leverage & Takedowns Using body levers (leg levers; arm levers; head/neck levers; torso levers) Basic sweeping; buckling; tripping Leg tackles Arm lever takedowns Head/neck lever takedowns Neck twisting/torso twisting Stance destruction Basic hip throws Uprooting principle Stealing their center 10. History & Lineage Learn the history of Tzu Jan Martial Art (including the Founders Teachers and background) Learn all that you can about the history of our Core Arts (Wing Chun; Jun Fan/JKD and FMA) and learn about the cultures and philosophies that influenced them. Learn about the influence of Taoism, Zen and Bushido in Martial Art and recognize their value in our training. Make a personal commitment to be the best possible representative that you can be of (1) Yourself, as you truly are (2)Tzu Jan Martial Art (to adhere to our Code of Conduct and reflect our philosophy and focus in your dealings with others), and (3)Martial Art as a whole. How you behave around others reflects on all Martial Artists. If you act like a jerk and the people who know you also know you are a Martial Artist; they begin to assume that Martial Artists are jerks. The ultimate objective in Tzu Jan Martial Art is for the individual to achieve a state of understanding and harmony within themselves, in their relationship with their opponent, and in their relationship with the world around them. To achieve this, it is essential to recognize that all things are indeed connected and conduct yourself accordingly.

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Tzu Jan Martial Art Expert Level Curriculum

(Brown Belt to 1st Dan Black Belt Only)
A. Wing Chun 1. Forms Movements and applications (Biu Jee & Mook Yan Chong Wooden Dummy) 2. Bridging Attacks Low line kick to strike to trap (self-initiated and as an interception to their step forward into range) Low line kick to strike to stance destruction (*as above) 3. Four Corners Training Random attack appropriate response Flow into chain attacks (high and low) Flow into trapping Flow into in-fighting and stance destruction 4. Chi Sao Stationary combative Moving combative Blind combative Push/pull combative include sticky leg training include sweeps and takedowns 5. Intro to Chi Kung Chi kung exercises Development of 1 punch force Review of all forms (kuens) with focused chi 6. Intro to nerve/gland attacks Arm nerves Leg nerves

23 Torso/back Neck/face/head Gland attacks and other pain centers 7. Sparring From attached hand Blind, from attached hand Slow motion Light contact Medium to hard contact

B. Filipino Martial Arts (Kali/Escrima/Arnis) 1. Largo Mano double stick Move behind with flowing strikes for angles #1-12 Occupy center defenses for angles #1-#12 Bridging form largo mano range to sumbrada range attacks and disarms Espada y Daga as above Double Knife as above 2. Single Stick defenses for #1-#12 3. Single knife defenses for #1-#12 4. Single stick vs single stick disarms #1-#12 5. Empty hand vs single stick #1-#12 6. Single Knife vs Single Knife Vs inward high slash Vs backhand high slash Vs inward low slash Vs backhand low slash Vs body stab Vs neck stab Vs traditional #1-#12 7. Sinawali drills and flow drills 3 & 6 count IBB and BIB Heaven 6; Earth 6: Heaven & Earth 6 10 count abaniko Double stick flow to disarms Double stick flow to random attack Single stick flow to disarms Single stick flow to random attack

24 8. The stick as a lever for takedowns for joint locking/ breaking for control holds and chokes 9. In depth exploration of Panantukan & Dumog

C. Jun Fan/JKD 1. Simple attack Pace (speed, distance, timing, non-telegraphic) Force (knock the guard aside and force your way in) Fraud ( make them think you are doing something else so you can catch them unprepared) 2. Indirect & Progressive Indirect Attack Foot feint to kick Foot feint to strike Strike feint to strike Strike feint to kick Strike feint to takedown or grapple Strike feint to draw attachment for trapping or joint manipulation 3. Attack by Combination Foot-foot Foot-hand Hand-hand Hand-trap Hand-in fight Hand-takedown Foot-takedown Trap-takedown Trap-joint lock or hold Trap-hit Trap-kick Learn broken rhythm and how to time movements in compound attacks 4. Immobilization attack

25 Progressive trapping Joint locks and holds Takedowns to finishing moves and holds/submissions 5. Attack by Drawing Baiting with openings Baiting to take advantage of a specific counter Drawing them into range by suddenly shortening your step back. 6. Counterattack Self defense series Countering kicks (with kicks; with strikes; with takedowns/grappling) Countering strikes (with kicking; with striking; with takedowns/grappling) 7. Sparring Drills One on one; two on one; three on one and pit drills Attacked while seated Attacked while lying down

D. Tzu Jan Martial Art 1. Full exploration of distance, positioning and timing in combat 2. Self defense exploration Defenses for common attacks/scenarios Use of force continuum and self defense Appropriate levels of response Coming to the aid of others Being a force for good 3. Progressive range exploration (weapons and empty hand) Evaluate largo mano range and the Tzu Jans 12 Reference Positions for effectively and progressively closing distance with weapons Evaluate all ranges with weapons to determine where to attack and where to defend as you move in and out of range. Use the 12 reference Positions as a fundamental guide. Once you know the most efficient attacks for each range and position, as well as how to stay safe while executing them, practice their progressive application in a wide variety of semi-live and live combative drills. Evaluate empty hand ranges in the same fashion; focusing primarily on kicking, striking and trapping ranges as positional references change somewhat when it comes to grappling. When analyzing trapping and grappling; consider strengths (attack opportunities) and weaknesses (counterattack openings) during each of the four stages of the technique: initiation, transition, landing and recovery. 4. Developing Counters Develop counters for kicks and strikes using the following methods (1) by monitoring (2) by stopping or intercepting (includes attacking the weapon) (3) by evading and (4) by parrying or catching. Once you know how to avoid the attack, include your countering

26 technique. Experiment with using kicking, striking, trapping or takedowns/grappling to develop combative generalship. Develop counters for traps using dissolving and evasion. Experiment with the use of low line kicking to disrupt traps and consider countering traps by using in-fighting, stance destruction, joint manipulation and takedowns. Develops escapes, reversals and counters for joint locks, holds and common grappling attacks. Explore escapes for leg locks, arm locks, chokes and submissions. Learn how to stop and reverse takedowns. Learn counters that are effective for self-defense. Develop restriction-friendly counters for any competition or sport. 5. Weapons Apply Monitoring to all double weapons sets and exercises Learn insertions for kicking, striking, disarms, joint locks and takedowns in all weapons flow drills and combative applications. Apply trapping principles from Wing Chun and Jun Fan/JKD to double stick Introduction to staff training 6. Understanding Traditional and Competitive Martial Arts Open Style Karate tournament format and general rules Kickboxing (Professional/Standard; Muay Thai; Oriental-Style rules) MMA Forms and Breaking Demo team competitions WEKAF IKF 7. The Tzu Jan Approach Embrace Martial Art as a whole and work for the advancement of Martial Art Training addresses all aspects of your being Oneness/Totality forget about the concept of Style and focus on finding the fundamental truths that transcend Martial Styles and approaches. Learn the Universal Combat Principles that hold true in all Martial Arts and understand how to apply them in a way that is most effective for you. Balance (physical, mental, emotional) (physical freedom and ease of movement, balanced present-moment awareness in attack/defense, using emotional energy constructively and avoiding extreme reactions) Harmonize with your opponent. Mirror their movements and cadence and always adapt yourself to fit in with their movements and timing. Monitor the opponents weapons and always obstruct the most direct lines of attack When the opponent steps in, attack When the opponent tries to move around your guard, intercept them When your opponent changes position, attack Use positioning to create proper body alignment and coordinate leverage with timing to generate power, rather than relying on brute force. Do not be within reach unless you are actively attacking or engaging your adversary.

27 Keep a neutral alertness and always be ready to change and adapt. Flow into the openings created by your opponents movements and reactions with your own attack while, at the same time, preventing them from countering you. Adjust to your opponents movement pattern and retain your balance and your poise as you help them destroy themselves. Cut the internal chatter listen, feel, harmonize and adapt. Stay present and attentive. Listen with your whole being and abandon yourself to the present moment. Do not waste energy, time or movement. Be efficient.just enough is enough. Trust the path that you have embarked on and let Nature take its course. Do not rush. Train diligently and your skill will develop as it is meant to. Use your daily training as a means of discovering Truth; not just about Martial Art and the Martial Way, but about yourself, about your relationship with your adversary and about your relationship with the world around you. Martial skill is , ultimately, the work of enlightenment. Only through the realization of that which is so of itself not only in Martial Art; but in life as well- can true Mastery be achieved. Honor your Martial Heritage and the Heritage of Martial Art as a whole. Be a powerful force for good and conduct yourself with integrity and respect for others. Remember; you not only represent yourself you represent Tzu Jan Martial Art and the Martial Way as well. Endeavor to never forget this and to be the best Human Being you can possibly be. When in doubt; remember this - Do what is necessary when it is necessary. Do it to the very best of your ability and do it in that spirit every time. You will not miss your mark. *Apprentice Instructors (1st Dan) and higher level Black Belts must also read the Instructors Addendum for requirements for additional advancement.