












Phil Elmore "decloaks" Ashida Kim, aka Radford W Davis



Davis aka "Ashida Kim" teaching a dreadful rising block










George Dillman performs sanchin kata













Copyright © 2010 Dejan Djurdjevic


  1. If we spend all of our time criticising the others, we will be wasting our time. So I'm glad you'll keep up with your "positive" posts which I enjoy so much.

    What amazes me is that people like Ashida Kim or Dillman can be so deceiving and yet have the courage to sell it as if they were masters. Or do they believe themselves to be masters? Either way, it's not something I could do...

  2. My argument has always been that there needs to be people who tell the Emperor that he has no clothes.

    If there is not a reasoned response to their nonsense then they will continue to get away with it, and also attract followers.

    In this instance we have several naked Emperors:

    Penn, Teller, Dillman, and others!

    You can point out the martial frauds while still stressing it's many benefits.

    I've said this on my blog more than once: just because I'm skeptical of ki does not make the martial arts any less magic.


  3. "just because I'm skeptical of ki does not make the martial arts any less magic."

    Excellently put Bob!

  4. I don't agree at all with Dillman's stage hypnosis...I mean..his no touch KO's. But, if you look at other Ryukyu Kempoists perform their Sanchin kata, they all hold their arms in that position. Isshin Ryu's version is slightly different in the hand positioning as well, I would chalk it up to stylistic differences than poor technique.

  5. I mention the opening move as just one example. If it is a stylistic difference, then my unequivocal view is that the style is extremely diluted, because basic biomechanical principles are being violated.

    These principles are found in any traditional version of sanchin or sanzhan - whether in Okinawa or in Fujian Province, China. Take a look at Martin Watts' http://www.fujianbaihe.com.

    But, as I say, this is only one example. The mawashi uke that Mr Dillman does at the end of this kata is also fundamentally flawed: again, it contravenes every basic, biomechanical principle inherent in the movement.

  6. I was wondering in the last video, under Clayton gap, why you deflected with a closed hand, rather than opening it or loosening it more in order to apply friction or grab holds as you pull back that arm to strike with the other one.

    Would that be something you are using now, but not back then (this post), or was it some kind of contextual usage based upon the drill?

    I also see that even 2 years ago, you had the same student work with you in front of the camera. He must love this kind of stuff.

    I raised the topic of Dillman on YA. Many people said he knows his martial arts, but I'm not sure what they were basing that claim on. Perhaps many people, martial artists included, are deluded by the fact that 10th dan or years of experience actually means something above what one's own eyes can see. I never particularly made any of my judgments on wisdom (is that why they named it "age"?) due to someone's credentials.

    1. I am just demonstrating the principle of the Clayton's gap, not showing a fighting technique per se. You can do it with closed or open hand. Closed fist guards are more conservative in that they protect your fingers being jammed.

      The student Jeff just happened to be in both videos. We have been training together for 25 years, so multiple appearances in my videos are inevitable.

  7. Mistake there, I meant "the chudan uke: sanchin kata features a double chudan uke at the start" Video above that last vid.

    When you pulled back one arm to your hips, but didn't pull his arm down as you attacked with the other arm, was the moment.

    But I think you already answered that.


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