Calasanz Takes a Hit : «Be Alert While Training­«

We recount an unfortunate training accident which occurred at Calasanz Physical Art and Martial Arts Center.

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A guy, [we call him J for confidentiality purposes], he was here training for over 5 years.

He is a kid that just wouldn't grasp the lesson when someone was teaching him, either out of incompetence or stubbornness... at least any lesson involving martial art.  There was nothing you could do.  So what I did was I remembered the system.  "We can teach anybody."  "We can teach ANY body." and J was somebody, so we taught him.

What did I put J to do?  I put him to get stronger.  I gave him techniques to build power.  He got over here at age of 16.  He had been training here for 5 years, he was 21 years old now.  Just knowing the kind of punch that this guy capable of delivering after 5 years of training with me.  And I prepared him to do it.  I trained him to throw a punch like that.

He would come to the school and he would hit the bag non-stop for over one hour... bare fist.

Just imagine I have you hitting that bag here all the time because you cannot learn the form, you cannot learn the kata, you cannot learn the dummy, so you know what I said... "I'm gonna make him good.. I'm gonna make him as good as anyone."  Because you know he cannot learn the kata, but with this training at least he can survive, he can kill the person.  So that's what I did with this guy.

And then all that turned.  Turns out he was preparing.  The reason that the punch got up so...  Because the punch was so hard... 

 

It was.. I was just in the office and I came out to explain something to the boxers training here because I was watching them from the office.  But you know, if you are like Bruce Lee, if you are like me and you love the martial art you want to help no matter what.  So I came out to explain to them a little bit about blocking, about closing the gap by showing them blocking different techniques.

I put J to demonstrate, for the others to help me show them something in training, in calm training.  But here I was sitting on the ring and he was in front of me with no weight on his front leg.  I saw that at the time, that he was waiting, getting ready to deliver something big, getting ready to unload a punch, just to see if I could block an unreserved shot delivered purposefully, hard and fast towards my head.  But even that was not enough,  as my gaze shifted to one of my boxers to explain the concept J goes and throws the punch.

He throws a punch like he is in a fight; as if he was in immediate and express danger even, as if his life depended on that punch.  He throws that punch so hard, and fully extended with everything he had, it was 100%, nothing held back.  He threw every ounce of power his body could generate into that punch.  With that power I had helped build for him, that I had taught him how to build over the last 5 years.  That amount of energy was thrown straight at me in that punch. If my head wasn't in the way it would have finished well behind my head, that punch was ready to go through my skull, but then it landed, it landed straight into my eye.

There has not been one person who did that ever before, who punched like that in training, in that cool  atmosphere.  That punch was so hard, he threw that punch to pass through.  It was a punch, he was trying to test me.  He was delivering this punch trying to test me.

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 (Perspective Shift)

As an outsider and witness to this event, [call me K for confidentiality purposes] I was stretching on the low table when it occurred not 20 feet in full view in front of me.  I can assure you this was no ordinary punch.  It caught Calasanz just in they left eye socket as he was turning his head to speak to another student, a boxer named Nick, seated on his right.  Calasanz reacted as a blind man to a silent punch, meaning he did not react at all.  (and as we all know the first thing he'll teach you is "head movement" plus he's always made it look the best with that hair)  But no, he did not react; with vision averted it could properly be labelled a 'sucker punch'.  Without movement of his head it landed solidly.

It sounded like a car accident.

It barreled him backwards from his favourite seated position on the outside of the ring into the ropes then swaying back forward slowly.  He grabbed his head immediately, almost curling up, and did not move for several breaths.  He went to the bathroom as he was ready and re-emerged to ask me how bad it looked.  Somehow he kept his composure with student J.  There was a small cut on his eyelid which was bleeding slowly and a slightly swollen redness began to emerge around his eyes before my very own.


He would heal from this punch over the next 4 weeks or more wearing an eye patch to hide the injury.  Every so often he would adjust it to reveal a rainbow, ranging from deep purple to an almost indistinguishable yellow-green radiating outwards from the eye.  Still sometimes when he is tired you can almost see something lingering about that area.  This was no ordinary punch.

As a first hand witness observer I can assure you this punch was purposefully thrown the way that it was thrown, but I also believe the pugilist was oblivious himself as to why he performed it suchly.

Perhaps he had built someone up so much in his head, perhaps he'd seen too many Dragon Ball Z episodes and just somehow forgot he was dealing within tangible reality, facing a fallible human and not an immortal, fictitious, super-powered psychic-warrior.   The world may never know, but this was no ordinary punch.

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Taken from Audio of recording with Calasanz

Developed and Transcribed by Alan Wedell

What the F*&! is so Great About Calasanz?

Here is Calasanz showing one of his best exercises based on Physical Arts under his self-titled 'Calasanz System'.  Physical Arts is Martial Arts, but Martial meaning in a general balanced term.

The Calasanz System - What is it?

Calasanz has spent a lifetime studying various martial arts and fitness trends. Over the years, he has dissected the best parts of each and combined them into what has become known as THE CALASANZ SYSTEM – a unique and effective style that has wide range appeal. THE CALASANZ SYSTEM includes a physical conditioning program that improves your overall strength, flexibility and endurance. This conditioning program builds a more functionally fit body than traditional weight lifting programs or other fitness routines.   

Calasanz has spent the last 30 years here in the U.S. developing and perfecting his system of martial arts and fitness training.  His unique teaching methods have helped countless men, women and children of all shapes, sizes and fitness levels enjoy the martial arts while getting fit.  His professional expertise and unique approach are why people like you have made Calasanz their number one destination for superior martial arts and fitness training.

 

We're Unique, - What Makes Us Different? 

Many martial arts clubs have a one-size-fits-all approach to teaching. Calasanz tailors an individual program specifically for each single person that walks through the door.  Whether you’re a seasoned martial artist looking to improve your skills or a beginner looking for a great way to get fit, Calasanz and his team will work with you in creating a program that meets your fitness and Martial Art goals. In this system a natural athlete can be passed on to more challenging feats while extra attention can be spent on developing the abilities that will help advance those at the dawn of their athletic experience. Our One-on-One training is the most superior method of enhancing your body and your skills.

Combining the Three Aspects

First is breathing.  Next comes awareness of the breath.  Then comes control of the breath.  Afterwards the breath is forgotten.  Followed by remembrance of the breath.  And finally a return to just breathing.

The three aspects of martial arts are the Physical, Mental and Spiritual.  Discussed in an earlier entry rudimentarily we will now delve deeper into these different facets and discuss the interplay between them for a deeper understanding and more open discourse about them.

At all times these three realities are present and are constantly being expressed, independent of the user's being aware of it or not.  In fact, it is not possible to consciously express all of them at once, for the simple reason that as soon as consciousness gets involved the moment becomes primarily mental.  For example, at this moment the processes leading to comprehension of these words puts the mental understanding of their meaning at the fore-front of the current experience which is being used to affect spiritual change within; all the while this comprehension is only achievable with the assistance of the physical events of eye-movement, sensory input, and brain synapse activity.  These physical happenings are combining with the mental capacity to understand in order to produce an amalgamation ending in a significant and inner spiritually altering experience.

This "three way amalgamation" is at all times occurring to create the present experience in which genesis and conclusion are in exact equilibrium through what is properly called time.




The concept of Nirvana within the Indian Tradition is described as a state of pure bliss or "ultimate reality".  It's opposite being "samsara" or a state of "non-nirvana".  Yogis and gurus have discovered certain methods of achieving this state of "ultimate reality" (most are based on awareness and control of the breath) and here I will let the proverbial cat out of the bag and let you all in on the big secret.  Nirvana, again might be described in this discourse as an instantaneous and simultaneous realization of the association of the three aspects: physical mental and spiritual.  Nirvana, however, cannot be experienced through solely a spiritual, mental, or physical means by itself.

One reaches Nirvana through a combination of mental and physical stimuli affecting the entity in the present to induce a spiritual realization and mental state.  It can occur at any moment, either through extended practice or even by surprise for no explicit reason, or anywhere there inbetween.  The moment of realization culminates into what has been referred to by Alan Watts as the "cosmological experience". and this experience is embodied by two different extremes at opposite ends of a spectrum.  One may feel as if he is the Omnipotent himself, a feeling that one is simultaneously producing and maintaining the entirety of reality (sometimes leading to delusions of grandeur among the unpracticed) or as if he is completely subordinate to reality under complete control of his surroundings / environment. (sometimes leading to a more nihilistic outlook or a feeling of ultimate surrender).

This state, however, is as temporary as anything else and does not usually last very long.  Understand that as one approaches an extreme, eventually there will only be one way to go.  As a great teacher once told me, "Something that turns so far into itself will begin to turn into its opposite."  This reversal can happen both spontaneously, or over a duration of time, just the same as the achievement of Nirvana.  However, the effect of the user achieving this state or having this realization is ever-lasting and never forgotten.

The first time Nirvana is achieved the experience is baffling, after which the user is often confused, amazed, unsettled and shocked all at the same time.  However, through practice and repeated achievement he will come to a realization which is what all religious traditions in the world today are paraphrasing in their own ways.  It is that Nirvana and Samsara are identical.  That they are, in the end, a simple pair of symbiotic opposites used to symbolize and conceptualize the contrasting perspectives of reality we experience.

In the Christian Tradition these are named "Heaven" and "Hell".  Here we refer to "heaven" and "hell" in the sense that they are not ethereal, postmortem destinations, but are instead the perceived, readily tangible and (fortunately) malleable expressions of reality here within.  For example, someone who is suffering is, at that time, in hell and someone who is experiencing joy is, at that time, in heaven.  The defiant, wayward rebellion of Adam and Eve within the Christian tradition being representative of our capacity to change and shape our own reality for better or worse towards heaven, or hell.

So how can I explain this interplay to you?  It is perhaps difficult to explicitly lay it out.  We are, after all, talking about the interaction between physical reality and abstract realms which is an incredibly complicated topic and one that is exceptionally challenging to understand intellectually. (Good on you if you are following this!)  This interplay might be described as a trinity of ever-present realms unified in concept; in which each aspect separately retains its certain individual properties while constantly adapting in accordance with the others and concurrently influencing them outwardly.  This interaction implicitly results in life and in harmony.  A harmony who's 'tune' and beauty originates from the balance between the three.

First is breathing.  Next comes awareness of the breath.  Then comes control of the breath.  Afterwards the breath is forgotten.  Remembrance of the breath follows.  And finally a return to just breathing.


Thanks for Reading and Share it if this helped you or spoke to you in any way!


Concept Develped and Written by:
Alan Wedell

Presentness Through Life and Kung Fu

When it comes to training the body for the long term, for the dedication to a prolonged life and for real longevity we are, in the end, talking about Kung Fu proper.

As a term that is thrown around in Western culture, often mentioned only in passing and almost never actually discussed or explored in any real depth, as if a joke or a farce, "Kung Fu" is very much a part of every day life and is an important practice for those living in those areas where Kung Fu was birthed and developed.  As life continues so too Kung Fu continues to develop along with it, independent of geographical location.  Do note, however, that the expression of Kung Fu in different geographical locations differs vastly from one place to the next and does not necessarily involve the complicated forms or movement sequences often brought to mind upon the utterance of the words "Kung Fu" (note: the existence and practice of said forms classically denotes a highly developed but still changing expression of Kung Fu).  For example, eating is Kung Fu, training is Kung Fu, sleeping is Kung Fu.  If you are breathing, if you are living you are in fact doing Kung Fu.

So, if we can agree that Kung Fu is synonymous with life it is also understood that any action taken which delays the Reaper's inevitable scythe is good Kung Fu, and any action which quickens the dark and final blow is directly at odds with the natural inertia of existence.  The good practitioner has a harmonious aptitude and a complete understanding, even without the understanding of every particular.  The good practitioner visualizes his life's path knowing that his present action affects his course directly.  It is difficult to consistently keep this vision front and center in sight and in mind, especially with the ever multiplying measure of external stimuli in today's world.

The good practitioner can develop and hone his ability to keep this vision at the forefront through meditation and more specifically control of the breath.  It's amazing that even the most minuscule lapse of judgment; the most concise, fleeting moment can cause a resounding deviation from the envisioned path.  Situations where this is the case might be called "accidents".  A mental consistency of awareness and a grounded recognition of reality must be maintained to a certain degree at all times to curb the likelihood of "accidents"actualizing themselves.  Reducing their possibility is best done by avoidance of the prerequisite conditions necessary for the accident to occur and using foresight to recognize those conditions.

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As we live there is a perpetual culmination of circumstances occurring at every moment in a constant fleeting genesis and it is here, within the moment, where lies the potential for all that is present to affect (for better or worse) the immediate circumstances towards a future reality.  Again, the potential there lies, in the moment, for us to bend our reality to a new extreme, or more likely to a new moderate circumstance as time passes.  Whether an extreme will actualize itself or not is uncertain, and the likelihood of a situation's development into an extreme reality a priori (meaning before the entrance of any empirical information) can properly be modeled by the mathematicians bell curve.  As we are great effectors of our own circumstance we must remain focused and resolute to ensure that as long as we are in control we do not breach over into an extreme displacement unless absolutely necessary.  But, if a breach of extreme does occur either by "accident" or through willful, deliberate action we must do our best to maintain control using our wisdom and intuition to characteristically proceed with magnanimity and honest virtue to reestablish equilibrium.

So we bring it back now to the topic at hand which is longevity.  Physical development is something that is also perpetual throughout a lifetime until death, so it is important that one understands how to develop safely and without injury as injury is properly a physical regression, which is the opposite of the desired outcome of development, progression.  So please!  Don't get hurt!  Our Physical Arts Exercises with the anatomical logicality of its holistic movements all centered on the core are the most simple and most effective exercises to promote longevity and real, internal power.  These exercises, when performed correctly and safely (meaning not with excessive weight) promote coordination, dexterity, power, proficiency and skill simply through their execution.  With this system the physical realm can be mastered in record time leaving the mental and spiritual realms ready to be conquered.

A Master of Kung Fu lives longer through dedicated physical training, spiritual serenity, and mental patience all contributing to a stressless life and ever-present mind.

Live Longer, Live Better, Kung Fu

Inspired by Calasanz
Written by Alan Wedell

What is Martial Arts?

So..  What is it?  Let us explore the topic in more detail so our readers [thanks guys :D ] might get a deeper understanding of what we are discussing here.

Martial Art is not something that can be defined with any absolute certainty, but here we will attempt such an impossible feat.  Martial Art.  It is an art form that is never stagnant, always moving and as long as one lives one is always a participant within it.  A musician, for example, plays a piece from beginning to end.  A painter applies pigment to canvas to create a painting to a conclusion.  A writer thoughtfully scribes a story from beginning, to middle, from middle, to end.  Martial Art, in contrast, is in constant practice.  Even if one is not training traditionally or even "training" at all, one is constantly in the act of producing their Martial Masterpiece simply by their propagation of life.  Every act we engage ourselves in is a stroke of the brush, a crescendo, a poem.  Understand, this is not said to downplay artists of other mediums, but to point out that musicians, painters, writers, artists of all kinds, and all people in general are intrinsically practitioners of Martial Art.  In a sentence, Martial Art is Life.

Now, something interesting happens when we open the topic to the three aspects.  We speak of the Mental, Spiritual, and Physical (Mind, Spirit and Body respectively).  Let us discuss each individually.

The Physical aspect of Martial Arts demands much respect as it is the realm in which bodies interact and the realm in which bodily injury occurs.  We look now at fighters.  Fighters are people without fear of physical harm or even those who harbor a love of it.  Fighters are dedicated to the mastery of the physical domain and set out to build their bodies to compete.  They train to take punishment and to unleash it upon their opponents.  It is the most visible and easily altered realm.  Also, realize now that the physical realm is controlled through the mental and spiritual aspects of the user as each of these three aspects are interconnected and act on one another through symbiotic relationships.  (A topic that deserves much further discussion, but is best reserved for a composition where it is the center of focus).  

The Mental aspect is the side of analyzing a movement or a technique.  It is the quiet pondering and conscious deliberation over the physical movements.  The samurai, for example, before they would practice would go through a fight sequence or exercise, sitting quietly, executing it purely mentally first before even picking up the sword.  This is as important as physical practice as it allows the user to critically and creatively experiment with the technique or exercise prior to its execution, the fudging of which may end up being physically harmful if not performed well.  Don't be fooled though, physical practice and mental analysis can occur simultaneously and in fact should be exercised both in tandem and independently.  This sort of 'cross-training' is critical to becoming well-rounded.

The Spiritual aspect is the understanding of purpose.  Mindless training without understanding will no doubt produce a physical result, but in the end is properly brutish and nonsensicle as it is not conducive to wholesome constructive development, but instead actuates ignorant stasis.  This understanding is not easily attained however.  The user will naturally have some sense of purpose to begin with and his understanding will deepen ever deeper through continued physical practice, mental analysis and meditation, unending.

Martial Arts is the dedication to these three aspects and most importantly the wisdom to balance them harmoniously. 

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Inspired by Calasanz

Written by Alan Wedell

Don't Go to the Ground

A lot of systems like to take advantage of fighting on the ground these days, Brazilian Jiu Jitsu and MMA for example.  While it is important for competitors to have a significant ground game, on the street it is the last thing you want to do for several reasons.

First, you will only be able to engage a single opponent with most of these techniques.  If it is a one on one fight in a cage, this is incredibly useful and effective, however, when the possibility of any number of people in a crowd joining the scuffle looms, it suddenly loses much of its value.  As your legs and body are tied up pinning and controlling the first perpetrator there are fewer and fewer resources to deal with a possible second or third aggressor.

Second, should the fight go to the ground mobility is reduced almost to nil.  While standing you still have two legs to run on if the situation calls for flight.  If you are occupied on the ground, on the other hand, it exponentially increases the difficulty of escaping a low percentage survival situation.

Here at Calasanz Physical Art we find that learning to fight well standing, one transitions to fighting on the ground easily.  Even without the fancy techniques a good standing fighter can be very effective on the ground.  If you can throw a good punch standing you can throw it better on the ground and the reasoning is simple, there are fewer variables to go into your punch on the ground.  Your balance is taken care of automatically, you do not have to worry about footwork, and your opponent is going to be within striking distance with little to no evasion options.


"Don't go to the ground, if you go to the ground you are going to fight."  - Calasanz

As a trained standing fighter you know how to fight, if you are on the ground you still know how to fight, its simply a different venue.  Naturally, you will perform better in a particular a venue with specialized training but even without specialized ground training you can still perform on the ground.  Your natural instincts and training will coagulate symbiotically and spontaneously when the venue changes.  Learn to fight standing first.  The rest will come naturally.

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From the Inside, Out

A good strike is generated from the core, and radiates outward to and through the extremities.  While the limbs are the delivery mechanisms and structures making physical contact, it is within the core and torso that the energy going into a strike originates.  We emphasize the core in all of our exercises because we know this to be true. 

 One of Bruce Lee's training techniques, especially for beginners, is to train the body to throw an elbow to the bag by shifting the feet and rotating the hips and torso.  (The arm should remain relaxed through the twist and the elbow should land at approximately shoulder height.)  By learning to do this well you will better understand the power mechanics of the body and how to produce a powerful strike from the torso rather than a flailing one from the elbow or shoulder.  After mastering this the student will further their sphere of influence outward training the farther reaching strike, the punch.  All-the-while in keeping with the power body mechanic learned through practicing the elbow strike technique.

Realize now, by training from the inside out you and your body will better understand where the long strikes come from, how they develop through the entire technique motion, and how to produce a more anatomically correct and structurally sound long-strike. 

Take another look at our Physical Arts exercises.  It is clear that the motions involved are going from close proximity to full extension.  This makes sense so as to 'grease the groove' and implant into a student's muscle memory the full range of motion of a strike.  Within each movement is a strike at all ranges along the spectrum from immediately close to completely extended.  This not only trains the anatomy to be aware of its own presence naturally, but with added weight resistance it strengthens the muscle along the entire trajectory of the strike while increasing flexibility and most importantly activating the core.

Written by: Alan Wedell

Foundation

The concept behind the training program at Calasanz Physical Art is to build from the bottom up.

Our system is unique.  It is designed to first train the body to protect with a solid defense and then to perform the 4 most basic striking techniques within any martial system with better coordination and with more power than any other martial system, (right and left punch, right and left kick).  We train these techniques to the highest degree through Physical Art exercises.


Learning the basics well will open everything else up more readily and will create a solid foundation from which a student can develop any other technique.  A new student learning boxing, for example, is taught a good jab, then right combo (while being told to keep his hands up 1000 times).  By learning to execute this combination well the student will have spent time practicing and will physically and experientially learn much about his body mechanics and punch mechanics through his practice to deliver a more powerful, stronger and more precise punch.  As the student develops these skills through practice it becomes easier and easier for them to learn new punches, such as an uppercut or a hook to the body.

If we took the same student, for example, and taught him 30 different punches on the first day there would be no growth, no development, and no technique.  Everything would look like a mess.  The student would not be able to perform any one of the punches with any competence, but might get a big head.

So we stress the basics.  We make sure the student is ready for more before he is taught the next technique, movement or exercise.  As the body becomes more in-tune and self aware through martial practice one's techniques begin to look more beautiful, land with more power, and place with greater precision.  The brain too will begin to understand the essence of what the body is doing and they will become harmonious, working together with rhythm in perfect time.  It's like that great philosopher always said, you must first learn the notes before you can play a symphony.

Build the foundation before the obelisk.  

A Martial Artist's Revenge : A True Story

Revenge is an emotional reaction that is hard for the offended to resist feeling.  At times leading to extreme and unnatural action.  We have all felt wronged and wished for righteous retribution and know that something burns within until it is quelled with appropriate recompense.  Calasanz recounts one of his experiences with revenge and how it changed him as a person and as a martial artist.

This story taken from an audio recording with Calasanz talking about his experience:



By the time I decided to return to learning Hapkido and Taekwondo I was a very powerful guy, very strong.  But even with all my power I was still not the fastest guy.  After a few lessons with Master Lee in Darien I ended up sparring with fellow student Gary.  As we moved around no one in the building could have predicted the sort of kick that he was going to put on me.  He delivered a hook kick with everything he had, to this day, still one of the strongest kicks I've encountered, and he got me.

I mean he really got me.


After that kick had been delivered I was ready to fight.  Especially as a younger man with little patience.  When I was an adolescent in the Dominican Republic I was known for two things.  They would say, "Don't hit him if you want to win.  Don't sweep him if you want to win."  I was ready to fight, but immediately after it landed Master Lee came from the office and stopped us.  He must have heard the kick land on me all the way in the back.  I was furious.


After my encounter, with Gary, class ended and I left.  It was a Saturday on a holiday weekend, with plenty of time on my hands I would spend the next 3 days training intensely.  I started kicking and I didn't stop.  Saturday and Sunday, all day kicking.  Sunday night, all night kicking.  Monday, all day kicking, I didn't stop until Tuesday morning at 5 o'clock in the morning when I had to go to work.  In those three days I had trained my kick to be as fast as anyone's.  I kicked over 10,000 times with 2 1/2 pound ankle weights on both of my legs.  My kick after those three days became lightning fast and brutally strong.  I wanted to be ready for Gary.  Months later chiropractors would tell me my joints had all been destroyed and I'm certain that this was a contributing factor to that, accordingly I wouldn't recommend this intense training to any of my students now, but I was crazy and I was angry.
 
The next 4 weekends I spent going to the Taekwondo school just to go, just to have a chance to get even.  Saturday at 1 o'clock I would go.  Later in class the students would be sparring but as soon as it came to be my turn the instructor would end it saying, "Okay, class is over, everybody bow."  Next week I would go, Saturday at 1 o'clock and the same thing.  For 4 weeks in a row I would go for a chance to face Gary once more to get my revenge.  Never would I get the chance.



But I had proven a point.  I was so out of control and so focused that Gary did not want to fight with me, and even the instructors were reluctant to pit us against one another.  Gary and I never squared off again, and never did that fight happen.  Every time I went to my Taekwondo school after taking that kick I went to make sure that I could get even, but instead a respect between us grew.  I was like a monster, a behemoth.  My body and my ability were so beyond that we couldn't fight.  We had to become good friends.  Gary would actually be the one to give me the name "super power" while I would end up being the one to inspire him to take ballet.  We remain on good terms to this day.

Inspired by Calasanz
Written by Alan Wedell

Obsession

Obsession is something that affects everyone in its own way.  Some people become obsessed with gambling, others with sports, others with "what-have-you".  Calasanz' obsession is Martial Art.  His obsession began when he was still a boy on a farm in the Dominican Republic.  His father took him to see the wildly famous Bruce Lee film, "Enter the Dragon".  From that moment on he knew his life's purpose and he began dreaming of going to America to become a Bruce Lee, to become the world's most well balanced martial artist.

His dream would begin to actualize in the early 1980's when he finally made it to this country, the United States of America.  Now he had some work to do.  While he will tell you that he was born with the gift of knowing martial art and especially understanding Wing Chun he also knew that in order to become well balanced he would have to learn a variety of styles and given its 'pot-luck' nature there was no better place to do that than in America.  He took a very logical approach.  He would pick some novel systems to learn to achieve his ends, study them and practice them down to their root.

While we examine and get into his course of study its important to know that his study of each particular style is not cut and dry.  Language will, unfortunately, limit the way in which I can convey, and the ways in which you can comprehend his progression of training but it is important to remember he as a living human was and is doing so much more than what can be exposed here through prose.  That is to say that as the topic changes schools or instructors, remember that his study and practice of previous styles or systems did not end.  In fact even today he continues to develop his skill of styles previously studied while adding the knowledge and training of newly learned systems, never throwing away what was obtained in years passed.  Still to this day he continues to develop, involve and evolve aspects of each of the styles he has trained within his system because as any real martial artist will tell you, you are never done developing.

He began his training in the Dominican Republic at a myriad of schools training disciplines including Karate and Taekwondo.  The first school he attended within the U.S., however, was under Moyat in New York City to improve and perfect his Wing Chun.  After one year with Moyat in Chinatown he moved on.  Years later Moyat would come to Calasanz' dojo for a seminar to promote Calasanz and instruct some of his more advanced students.

On his endeavor to become the most well balanced martial artist in the world he undertook the study of Cheng Chuang (translates to "Long Fist").  He studied this system with Angel Rodriguez under a Chinese master with only one English name, Henry, in New York City for 6 years, all the while improving his Wing Chun and developing aspects of body control through dance classes and gymnastics.  Cheng Chuang remains a large influence on his art and teaching style emphasizing extension and flexibility for greater range and a more capable body.


Each day he trained and learned he became aware that he could not satisfy his obsession.  He grew hungrier and hungrier.  His appetite for martial arts would grow faster than he could take it in. 

As he kept learning, practicing, and developing he would augment his previous Hapkido and Taekwondo training in the Dominican Republic with lessons under Master Lee in Darien, Connecticut. 

He would also attend Gleason's Gym in New York City regularly to soak in what he could of boxing.  I say soak in because at Gleason's Gym he could not step into the ring.  He was already making videos and doing the incredible and those who attended Gleason's thought he was crazy.  They would not even put him to spar.

As time passed he integrated all of these styles, taking Bruce Lee's ancient aphorism to heart, to take what is useful and disregard what is useless.  And like Bruce Lee, Calasanz understood the importance of dance.  He took up dance classes in several different styles including ballet, jazz, tap, modeling jazz and modeling ballet.  And, while dancing is not necessarily martial art, martial art is most definitely dancing.  Dancing, as another practice of bodily control and presentation, gave Calasanz another perspective and allowed him to grow as a martial artist in ways strictly martial systems had not.  This opened the mind and gave him another leg to stand on so to speak to be more well-balanced and more well-rounded as a martial artist.

His obsession had led him deep within the martial arts world and even outside of it altogether.  He would learn a lot by taking a step outside that realm and looking in through a different lens.  As he continued training his learned martial systems he would again branch out, this time into the world of gymnastics.  He would train under Darko, a Russian instructor in Westport at the time.  Darko is noted as being baffled at Calasanz' ability and workout routines.

The people surrounding and training Calasanz were more often than not confused by him.  They could not comprehend what he was doing, and more, how he was doing it.  His obsession drove him to extremes so far from so-called "normal" that many, including those at Gleason's Gym, dismissed him as crazy.  But this is exactly what happens to someone with an obsession so advanced and a desire so deep.  In anything he trained he would always want to know the meaning of the technique or movement.  He wouldn't stop.  For those on the outside looking in it is difficult to understand a person obsessed and their actions because they simply do not share the same motivations and desires.  Simply, they do not have the same obsession.

Surrendering to an obsession and to then pursue it with such vigor and passion does not come without a price.  As Calasanz trained doing rigorous activity for unhealthy and extended periods of time, his body paid a price.  He had successfully destroyed the joints in his body through over-training.  His obsession had become a destructive force and over time a lesson would be learned.  Even with the world's best body development system in his hands, the pitfall of excess showed its face. 

He would be the first to learn the perils of pushing one's self within his system while in the end it is better that it happened this way; that the creator should carry the burden of pushing his system too far. 

It is, however, exactly that, his obsession, and his relentless feeding of that obsession which spring-boarded Calasanz as a martial artist above and beyond all those around him including his instructors.  His inability to be satisfied, his unrelenting hunger to be the best, most well balanced martial artist in the world, and his determination and strength of will to do what was necessary to achieve that goal has led him in this lifetime to the fulfillment of that self same goal. 


This is Calasanz, the Most Well Balanced Martial Artist in the World



Inspired by Calasanz
Written by Alan Wedell

Challengers Welcome Part 2

Calasanz was and continues to be the biggest name in martial arts in the surrounding area of Norwalk Connecticut, not to mention his name's international renown. People after seeing his skill would often talk, “Wow, he's even better than Bruce Lee!” With a reputation such as that it was repeatedly required of Calasanz to uphold such a high acclaim. In fact, until recently there was always a sign on the door welcoming challengers to walk in.

Often times the meanest, 'baddest' punks in town would walk in with inflated egos and idealistic conceptions of themselves and of how their one punch would end the fight in seconds, only to find themselves realistically confined to roles reversed. Other times more skilled and practiced martial artists with a bone to pick would enter through the doors with their inflated egos and idealistic conceptions of themselves and of how their superior technique would end the fight in seconds, again, only to find themselves realistically confined to roles reversed. We are reminded especially of the story depicting Calasanz' fight against Kenny at George's Gym.

Today however we have unearthed, from the piles and piles of tapes, a video never seen before of footage taken when an entire school came to make good on the sign's promise. We look now at Roger Mayers, one of Calasanz most honest, loyal and recognized students.

In his time he was one of the best and fastest point fighters. Roger is a guy with great defense, great reflexes, and a great heart. He went up against people nobody wanted to fight, like Raul Ortiz, and he won tournaments so large he would go home with trophies as tall as 6 feet. His nickname, “Flash” fully characterizes the reaction people had when watching him fight. To see him moving around in a fight is like watching a Bruce Lee, and everyone who trained with him knew that if you touched him he would make you pay for it. He moved so fast people could barely see him attack. One of Roger's best moments was when he competed in a kyokushinkai tournament and ended up taking first place, his fellow student is in the background here and took 2^nd place.

In these videos Roger “Flash” Mayers fights Dennis White, click here for a short anecdote about Dennis's personal encounter with Calasanz prior to this day, and a man named Michael.

Roger v. Dennis White:

As you watch the fights you will notice Roger landing many kicks to the hips of his opponents. After the rounds of fighting and sparring the schools meant to go out to lunch but the opponents were having trouble walking from taking these blows to the hips and unfortunately could not join us for the meal. But after all was said and done their aim of usurping Calasanz position and proving him a fraud was once again denied despite their best efforts.

Roger v. Michael - Round 1:

Roger v. Michael - Round 2:

Roger v. Michael - Round 3:

The sign has since weathered and was taken down after the school remained unopposed for such an extended spell. But the stories of those who came to challenge still remain within our walls and are testament to the resilience and truth about Calasanz and his system.


All the STRIKES!

Anecdote on Calasanz and Dennis White

This footage is taken of the man Dennis White and Calasanz. The footage takes place after students from Calasanz School and students from another martial arts center went head to head.  Calasanz shown here with Dennis is trying to get a small shot of footage with Dennis so it can be used in a commercial. Dennis as you can see is seemingly scared to throw a real kick and towards the end quits from being toe to toe with Calasanz, even just for show.

So the story goes that about 6 years before this day Dennis as an accomplished martial artist and respected fighter had come to Calasanz for a fight and stepped into the ring with Calasanz. After a short time Dennis went for a leg sweep nearly felling Calasanz. Calasanz regained his footing and lost it.  He approached Dennis in passionate fury and contacted Dennis with several strikes but without fully connecting them through his opponent so as not to hurt him.  All Dennis could do was utter the words, “Please don't kill me.”

This is why Dennis seems apprehensive when working with Calasanz.

To see more footage of that day check here!

Challengers Welcome - Part 1

Calasanz Physical Arts and Martial Arts Center in Norwalk has been teaching and training some of the best Martial Artists in the world since the 1970's.

People come to challenge the master when they cannot even defeat his students.  The clock strikes high noon while the best fighters in the area walk through the door unannounced.

Here is the story behind Darrel Dash and Dennis White.

Daryl Dash, in the white shirt with flat-top, was the first Black Belt under Calasanz.  He was known at this time for having the fastest head movement and his devastating countering ability, known as the master of counter.  Calasanz himself admits that if he was not 100% when working and moving around with Daryl he would have been in trouble.

Dennis White, in the full gi and beard, had an extensive Martial Arts background fighting people in schools all around the country.  For example, he had a 7th degree black belt in Judo but that is really only scratching the surface of his training.  This day he came with his Master and fellow students to the Calasanz center unannounced.

This group, from Stamford, made their living and their name by going to other schools, challenging them and converting students after showcasing their skills.  They were great fighters to be able to do that.  On this day at the Calasanz center they would be disappointed after their efforts.

Calasanz, without fore-warning, of their arrival had only his students in attendance to enter the fray while most of his best students were not present at the time.  Still, having faith in his system and his students he put them to fight.

Enjoy the fight, comment and like!

Becoming Bruce Lee and Purposeful Practice

Before we go on we want that you understand the beauty in martial
arts.  There is a certain beauty that comes with being a Bruce Lee or
a Muhammad Ali or a dancer whose movement inspires.  Calasanz believes
it is in the movement of these wonders that inspires us.  It all comes
from knowing yourself and understanding why it is that you are being
so watched by an audience.  It is because movements produced with such
confidence and synchronization are captivating to those observers.
The sheer balance, and control of a human body demonstrates its
capabilities, potential and beauty.  This is something that attracts
the eye and is difficult to ignore.

Beauty in martial arts does not come from knowing thousands of
techniques or their potential effectiveness.  It arises from the
controlled and proper execution of these techniques.  In practice it
is most helpful to observe yourself in the mirror, it allows you to
see yourself and correct your movements to make them more and more
beautiful.

Mindless execution and repetition does not produce true development.
It is the calculated, disciplined and deliberate execution of
techniques and movements that allows for a real improvement in
proficiency.  Observing one's movements visually gives the user
something so they might critically asses and evaluate their own
standing in order to make developmental corrections.

Practice your moves, but not mindlessly.  Correct them with the
purpose of making them prettier and prettier, striving to make them
so.  As you look in the mirror and watch yourself, you will know how
they look.  If the body looks contorted, writhing and out of line, a
correction is necessary.  If the body looks poised, stable, balanced
and strong the movement is beautiful and correct.  You will know this
yourself.

At any moment that you let anybody control that for you, that is when
the knowledge and beauty of what you are doing will be lost.  When you
come to study the Calasanz system think of learning something that you
can take home with you.  It brings you to the point of not just
understanding the techniques and exercises of any martial system, but
more importantly to the point of understanding your own body.  By
reaching this level of understanding you can train the exercises and
techniques to look good and beautiful doing them.  In understanding
your body in this way anything you participate in in daily life will
be improved.

Train to elongate your muscle.  Work out with the purpose of
developing a nice posture.  All of these things can be improved under
the Calasanz system and training Physical Arts.  The techniques are
applied to more than just American Boxing, Kickboxing, Karate, Kung Fu
or other martial systems.  They are applicable to universal movement,
general motion, everyday action.

When you train to become a competitor things change within the mind.
Your view is to train hard and hurt people.  Looking at Muhammad Ali
or Bruce Lee their movement looks so natural and beautiful, the
harming of their opponents is almost a secondary component.  The
fruits of their training are apparent.  In the ring they are as
graceful as ballroom dancers.  They are killers but still look good.
Sometimes you must be born with that, but if you are not so endowed
training is where you gain it.  First you must gain posture,
coordination, technique, rhythm, balance, and control.  After
acquiring these you can develop flexibility, strength, sensitivity and
power at alarming rates to become a Bruce Lee, to become a Muhammed
Ali.  You will know yourself, you will be yourself.

Inspired by Calasanz
Written by Alan Wedell