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Fundamental This simplified method of teaching is intended both to teachers and practitioners and it can be summarized in ten rules

that I ask you to follow from today and if possible include : 1 . The structure of the Ten Chi Jin is the key to knowledge. . !idden in the Ten Chi Jin concepts must be known perfectly " . There is no need to learn by heart the technical schools . # . $ll mo%ement is a comple& composed of Fundamental mo%ements. ' . Fundamental (udo Tai)utsu *kemi are in the +amae , the -anshin no +ihon +ata and !appo . . . Fundamental apply to fi%e areas of displacement / . Fundamental are the key mo%ement work, the key to their ac0uisition. 1 . The legs are the secret of mo%ing and true motion . 2 . In motion, e%erything is complementarity , distance and fle&ibility 13 . The natural mo%ement is beyond *ke and Tari . These 13 commandments of the practitioner are to study and meditate regularly . 4et each these points and understand what they mean. 1 . The structure of the Ten Chi Jin is the key to knowledge The Ten Chi Jin brings together the three worlds of mo%ement. The 156 is !ea%en , it includes all Fundamental mo%ements rolls , postures, strikes , e%asions , forms of tra%el and key se0uences : -anshin no +ata 7 8ogyo no +ata 9 and +ihon !appo . This is the most important part of the program. C!I is the 5arth , it includes the concepts of all techni0ues: kicks, clearances , twists , wrenches: pro)ections , chokes , controls. JI6 is the man, he has a fifty techni0ues from nine schools (u)inkan . It can be considered as the intersection of the mo%ements of T56 with techni0ues 7 concepts 9 of C!I . ;o not waste . not your time to learn the techni0ues that JI6 up , they are only there to enhance your understanding of mo%ement , and the mo%ement distance . . !idden in the Ten Chi Jin concepts must be known perfectly

The largest in the Ten Chi Jin is not learning forms or +ata : the important thing is the inclusion of concepts related to mo%ement, distance and mo%ement . <hole structure of the Ten Chi Jin must be known and re%ised periodically. in (ud= Tai)utsu , there is no repetition of mo%ement. 5ach mo%ement is because it is in phase with the punctual en%ironment that gi%es it life. .. > " . There is no need to learn by heart the technical schools . The mo%ement became ?natural? , it is useless and e%en > dangerous to learn by heart dozens of often inappropriate techni0ues. Technical schools of (u)inkan are )ust to allow training. There is no ? power? hidden in secret techni0ues . do not learn , work them . If they ha%e a secret , you will find in the work, effort and sweat. Internalization through work , techni0ues and basic shapes 7 Fundamentals 9 > allows the practitioner to penetrate further into the mo%ement . this work daily de> braiding is li%ed from the inside not the outside of the art. It is therefore not necessary to ? collect ? techni0ues must simply li%e . # . $ll mo%ement is a comple& composed of Fundamental mo%ements. @ore e&perience increases, the more the mo%ement matures . $ mo%ement, a techni0ue is always a set of basic or Fundamental mo%ements that in > one chaAnent after the other . Bepeated these fundamentals and techni0ues from school work and bring the body mind to always go through the same points C con%ergence . $s a repeated path again, the true mo%ement occurs naturally through repetition and work. The merger of !uman and labor leads to deepening the understanding of the inner mo%ement . That is why e%ery practitioner gradually de%eloping his own style. . . ' . Fundamental (udo Tai)utsu *kemi are in the +amae , the -anshin no +ata and +ilian !appo Fundamental (udo Tai)utsu are mo%ements in which you go, and iron without

ceases . They are always the same and D yet always different. <e can compare these mo%ements the sun. Ence the concept of sunshine is known, it is the same day and at night. each is identical to the pre%ious day and , as completely different 7time , weather, planetary position etc . 9 . In Fundamentals you find all the keys you progress both physically that mental >ment . That is why in the (u)inkan ;o)o , you work each course . . . Fundamental apply to fi%e areas of displacement ;eep knowledge of Fundamental applies to all the work of unarmed combat and <eapon . The fi%e spheres mo%ing Fundamental use . Fundamental to decline in unarmed combat , in combat with short arms , medium arms , arms long and throwing weapons 7remote9 . Their form changes but the internal design of each remains same . That is why it is important not to freeze these Fundamental risk see them become dead forms without interest. <e do not archeology martial arts but we practice contrary to a li%ing art . The secret is in the labor mo%ement . / . Fundamentals are the key to mo%ement work, the key to their ac0uisition <ithout repeated long Fundamental (udo Tai)utsu , you can attain the le%el necessary for the emergence of natural mo%ement. -eu1e attendance allows , thanks to the effort and work the ;o)o 7 and outside ;.)= 9, the ac0uisition of the mo%ement. <ithout mo%ement , the martial art is limited to of fi&ed and stereotyped forms which prohibit creati%ity in the practitioner while the wedging in a more ideological than technical strait)acket. $daptation to the en%ironment is still the key (udo Tai)utsu . 1 . The legs are the secret of mo%ing and true motion The mo%ement is generated , produced , initiated by the legs. 4imited to bust mo%ements are unnecessary if they do not include the displacement of the feet. This mo%ement may be limited to tra%el on instead. The real mo%ement is outside space and time. The true motion is %ibration, faction is without action.

2 . In motion, e%erything is complementarity , distance and fle&ibility (ecause it is not necessarily to change the position in space , the mo%ement is ali%e . the *ke mo%ement fits in its en%ironment. This complementarity can e&ist only when the practitioner formed by the Fundamental and e&perience on the Tatami , known to include ?naturally? in its reaction conditions for its success. There is no techni0ue , no distance , not strength or fle&ibility. In motion, there is complementarity between the attacker and defender , the distance of one : is integrated by the other , and the strength of one Ds specified by the fle&ibility of the other . $s the practitioner belie%es the mo%ement as a series of technical moments he is in error . 13 . The natural mo%ement is beyond *ke and Tori The ?natural? mo%ement e&ists without *ke or Tori . This 0uDamFne practice (udo Tai)utsu is ability ?natural? of the indi%idual to protect himself from e%erything and e%eryone . IT there is no will importantly , there is a reaction . That is why we must remember the philosophy of our art ? -hizen 8yo $ Byu -ui D : $lthough the real meaning is ? always mo%ing beautiful and natural , continuously adapted , ? can be translated as ? the (udo Tai)utsu seeks fusion Dof the body and mind for the construction of the being and the abandonment of sound, in adaptation permanent en%ironmental ? If *ke and Tori were not there for the show , the mo%ement would still be there. *ke and Tori only re%eal a reality that is not thinking.