Megami Dojo

Hindiandi Gung Fu

Table of Contents

  1. Hindiandi Preservation Project
  2. Hindiandi Charts and Drills
  3. DRILLS, DRILLS, AND MORE DRILLS! – an article by Zane Legg

Hindiandi Preservation Project

Hindiandi is a masterfully crafted martial arts style, incredibly effective for self defense despite its simplicity and compactness. Yet, only a handful of people in the last 40 years have studied and understood–let alone teach–Hindiandi as a complete style unto itself.

Sensei Keith Craig, ranked 7th degree black belt in Hindiandi by USMC Ret. MSgt. AJ Advincula, passed away unexpectedly in 2011 at the young age of 51. He only had a few students. As a result, Hindiandi is at risk of disappearing in the next generation. This would be a travesty to the martial arts worldwide.

Megami Dojo wishes to preserve as much information as possible about Hindiandi before it is too late. If you have documentation of Hindiandi you’d like to contribute to the project, please contact us at hindiandi@megamidojo.com to discuss how we can digitize and preserve your documentation for generations to come. Examples of documentation include but are not limited to: handwritten notes, typed notes, email communications, and/or video of Sensei AJ Advincula and/or Sensei Keith Craig performing or teaching Hindiandi. Video can be in any format – we can discuss the best way to digitize and preserve. DVDs and VHS deteriorate over time!

Any contributed documentation will be treated as your personal property and will not be shared on Youtube or social media unless you explicitly request it be shared. We thank you in advance for your contributions.

On this page, we have preserved some important written documentation by both Keith Craig and William Zane Legg.

Hindiandi Charts and Drills

Keith Craig (1960-2011), 7th dan in Hindiandi, canonized this list of Hindiandi charts and drills, much like Eiko Kaneshi is credited for canonizing the Isshinryu List of Basics (Charts 1 and 2). The full Hindiandi curriculum is taught in martial arts classes at Megami Dojo, including other drills and concepts not listed on this page.

Keith Craig’s “Hindiandi Charts and Drills” has been reproduced here with special dedication to him.

“The epitome of this drill will be when the receiver can lead the feeder always being one step ahead” – Keith Craig

Hindiandi Chart 1

Stretching, Loosening

  1. Loosen joints, head to toe, (neck, shoulders, elbows, wrists, waist, hips, knees, ankles, toes).
  2. Step to side into Seiunchin stance and double spear over shoulders, double back elbows, double outward elbows. 10 reps each side.
  3. Full nelson releases. 10 each side.
  4. In Naihanchi stance, twist left and right while simultaneously back elbowing and back punching. 10 reps each side.
  5. Front lunge stretch.
  6. Side lunge stretch, foot flat.
  7. Side lunge stretch, toes up.
  8. Hold instep behind with opposite hand and stretch.
  9. Hold instep in front of groin and lift.
  10. In a Natural stance crane’s beak trap at the solar plexus, then bend forward with knees locked, while simultaneously rear crane’s beak striking to the groin. 10 reps each side.

Kicking (10 reps each side)

  1. Rear scoop kick
  2. Front sweep
  3. Front rising kick
  4. Forward thrusting kick
  5. Inside out hooking kick
  6. Rising back kick
  7. Rising side kick
  8. Crossover stomp
  9. Cross back heel kick
  10. Upward knee
  11. Forward knee
  12. Hindiandi roundhouse

Hindiandi Chart 2

Punching/Striking: From parallel stance, hands at hips.

  1. Punching: Twist to throat, vertical to middle, underhand to ribs, groin, uppercut to head
  2. Palm strikes: Upward to head, face, straight to middle, side to ribs, underhand to groin.
  3. Finger spears: Upward to eyes, throat, vertical to solar plexus, underhand to ribs, bladder, upward underhand to throat, eyes, over the shoulder to eyes.
  4. Knife hands: Inward high to throat, side of neck, outward high to throat, side of neck, inward low to ribs, outward low to ribs, to the rear low to the groin.
  5. Hooking punches: Wheel punch to face, head roundhouse punch to body, over opposite shoulder.
  6. Elbows: Inward elbow into palm of opposite hand, upward into palm of opposite hand.

Blocking: From parallel stance, hands either relaxed at sides or in Kamae position. All stepping can be forward or reverse or to sides.

  1. Upward wrist, downward palm: Both hands, right hand, left hand, both hands alternating.
  2. Inward palm, outward wrist (fishtails): Both hands, right hand left hand.
  3. Outward wrist, downward diagonal palm (diagonals): Right hand, left hand.
  4. High sweep, low downward block: Both hands, right hand, left hand, alternating right and left hands.
  5. Upward wrist, downward ox jaw, outward wrist, inward palm: Both hands, right hand, left hand.
  6. Inward palm, outward wrist, upward chickens head wrist, downward ox jaw palm: Both hand, right hand left hand.
  7. Inward, outward vertical forearm blocks: Inward into opposite palm slap then snap outward for conditioning.
  8. Upward wrist, downward wrist (ball block) across backs of forearms for conditioning.
  9. Figure 8: Both hands, right hand, left hand.
  10. Inward snag, forward wrist: right hand, left hand.
  11. Step back, high block (hard wrist or soft sweep), reverse counter.
  12. Step back, middle outward wrist block, reverse counter.
  13. Step back, low block, reverse counter.
  14. Outward sweep and same hand forward palm.
  15. Step back, inward middle block (palm or vertical forearm), reverse counter.
  16. Step back, reverse middle sweep block simultaneous forward palm strike to ribs/kidney.
  17. Step back, underhand palm block, reverse inward sliding palm to throat.
  18. Step to side, propeller block: High, reverse punch.
  19. Step to side, propeller: Low, reverse uppercut.

Hindiandi Drills

Single Hand Drills

  1. Up/down, wrist and palm
  2. Side to side, single fish tail
  3. Diagonal, wrist and palm
  4. Inward palm and downward
  5. Wrist or sweep and underhand palm
  6. Rainbow
  7. Inside forearm to outside forearm
  8. Underhand palm to downward
  9. Inward palm, outward wrist, downward ox jaw, upward chickens head
  10. Inward palm, upward wrist, downward palm, outward wrist
  11. Single figure 8
  12. Inward hood and wrist strike
  13. Outward sweep and palm or inward sliding chop
  14. Underhand palm to wrist strike to groin
  15. Downward block to underhand palm to groin
  16. Survival drill

Turret Drills

  1. Palm block, with and without snagging.
  2. Inside of forearm block, with and without fist snagging.
  3. Double inside forearm trap.
  4. Inward palm block and thumb catch to inward elbow.
  5. Palm block to thumb catch and outward wristlock.
  6. Underhand palm blocks.
  7. Palm block to same hand downward block.
  8. Sweep blocks, with the without snagging, with and without catching.
  9. Back of wrist block, soft and hard.
  10. Sweep block and basic arm bar.
  11. Downward blocks.
  12. Sweep block to same hand underhand palm block.

Turret Drill Procedures

The drills are conducted with one partner feeding strikes to the other. The drills are done with each individual method listed above to build muscle memory and fluidity. Once familiar with the individual methods the receiving partner may vary his response using any method he chooses, moving from one method to another, mixing and matching. The receiving partner may then begin adding the striking additions above as appropriate trying to maintain fluidity and continuing to glow with each strike as it comes. The feeder may then begin varying the level of the strikes going from high to low to high to whatever to try and catch his partner off guard. The feeder may then also begin varying the rhythm of his feeding to catch his partner.

Once this process can be done in place without footwork, then the receiver may start using evasive footwork always trying to reach a position of advantage.

  1. Palm block to broken rhythm opposite hand palm strike, forward elbow or punch.
  2. Palm block to simultaneous opposite hand groin strike or underhand punch.
  3. Sweep or back of wrist block to simultaneous palm, sliding inward chop to ribs or head/neck, or inward elbow.
  4. Sweep block to outward sliding chop to throat, ribs or groin.
  5. Back of wrist block and simultaneous back of wrist strike to ribs or solar plexus.
  6. Outward wristlock and reverse punch, palm, elbow or uppercut.
  7. Deflection strikes.

DRILLS, DRILLS, AND MORE DRILLS!!!

by Zane Legg

Introduction

Hindiandi is a form of Gung-Fu from Southern China. It’s not a flashy system and, by virtue of it’s simplicity, is easy to grasp. For infighting, it’s very difficult to defeat. Some of the features are: fluid circular blocks; low, fast kicks; strikes with any part of the hand; and economy of motion. [R. B. SAFREED]. Hindiandi is an extremely aggressive style that combines striking and grappling techniques. This makes it highly effective in a variety of combat scenarios.

The writer was introduced to Hindiand during the summer of 1991. Growing dissatisfaction with “run-of-the-mill” Martial Arts classes led me to seek out something better. A Marine, or anyone interested in real-world skills, needs more than a sport-oriented curriculum. The advice of Alfred Belmonte, a friend and martial artist, pointed to Sensei Advincula in Oceanside, Ca. Because of the compelling description taped to his storefront’s glass, Hindiandi Gung-Fu was chosen.

The first encounter was on a Thursday night. What stood out was the variety of weapons in the dojo. Rather than being part of the décor, these weapons looked well used. At the time, Sensei was recovering from surgery to one of his shoulders, and it appeared to be bothering him. Amazingly, he continually performed high-rep sets of one-arm push-ups, with his good arm, throughout the session. Mr. Belmonte was right. This guy was the “Real Deal”! There was no need to ponder a decision. Training began the same evening.

Unlike many instructors, Sensei Advincula actually led the class as a participant. Later on, he would say that he kept the dojo open for his benefit, to stay “in shape”. Of course, everyone benefited from his example. Classes were usually small (5-6 people on most nights). Everyone got one-on-one instruction from Sensei.

There was no wasted time that first night. After introductions to Keith Craig (Hindiandi) and Robert Carona (Isshin-ryu), we began practicing Hindiandi’s warm-up exercises along with the self-defense applications. These individual drills include most of the wrist blocking/striking techniques, basic punches and kicks, and breaks from simple grabs. Everything demonstrated was explained and no question went unanswered. One could honestly claim to walk away with useful knowledge right from the beginning. Every technique was taught as if you might have to use it on your way home. Of course, no attacker is going to wait for you to earn a black-belt.

After the first visit, Mr. Craig was in charge of teaching. First taught were “Bogushin Kata” and the Escrima basics. There was some apprehension about using the weapons at first, conventional wisdom being that only black belts should handle weapons. Mr. Craig gave assurances that this wasn’t the case and that practicing Escrima would enhance the Hindiandi skills. As time passed, his assertion became self-evident.

After approximately two weeks of the aforementioned basics, two person drills and some short free-fighting sessions were introduced. The hierarchy of introduction seemed to follow a definite pattern: solo practice, static two-person drills, moving two-person drills, free-fighting.

Mr. Craig has his own unique teaching style that called “The Overload Method”. He would demonstrate “1001 Applications” for every technique. At first, this seems overwhelming. However, the result of training by this method is perfection of the underlying principles, not textbook responses to every attack. This aligns itself with one of the “Four Principles of Hindiandi” which is “Make it Work!” The Four Principles, combined with Sensei Advincula’s demanding training methods, are why Hindiandi works.

The Four Principles of Hindiandi

Hindiandi is based on four principles. They are: (1) “The Fist, Foot, Elbow, Knee Strikes From Where It’s At”; (2) “One Inch Makes All The Difference”; (3) “Make it Work!”; and (4) The Dynamic Sphere. These principles were continually emphasized during lectures by Sensei Advincula and reinforced by a process, here called, “The Four Phases of Hindiandi Training”.

First, let’s examine the “Four Principles of Hindiandi”.

1. The Fist Strikes From Where It’s At

Strikes come straight from the guard (kamai). There is no preparatory motion – such as bringing the fist back to the ribcage – which telegraphs to your opponent that a strike is being launched. Of course, this applies to any movement, including kicks.


At this point it’s worth mentioning that Sensei Advincula has his own class of non-telegraphic kicks that he refers to as “funny little kicks”. They are not pretty, but odd looking. However they are painful to the recipient.

The Hindiandi fighting stance is structured to provide the best possible defense and at the same time, provide a platform for launching a powerful offense, without requiring a preparatory movement. This body management is covered by the “Second principle of Hindiandi”.

2. One Inch Makes All The Difference

This refers to the “little things” that make the Hindiandi stance a strong fighting and defensive base.

  • Head is erect and mobile to avoid strikes.
  • Gaze is focused on opponents eyes, using peripheral vision to detect motion.
  • Throat and neck are tensed in case they are hit.
  • Shoulders are sloped and rounded to front. This strengthens the neck, shoulders, chest, and abdomen in case your forward guard is penetrated. Back is rounded to deflect blows from behind. Rounding your torso – making yourself into a “little ball” – makes it much harder for an opponent to strike or grapple with you. You’re techniques are performed “closer to mass” making them stronger.
Non-telegraphic Power

Additionally, this “coiled posture” contains the secret for powerful techniques without telegraphic preparatory motions.

In defense, the opponent’s attack is usually deflected down and to the sides at oblique angles. As many of these movements are performed, the upper body’s weight is used to press down on the opponent’s arms, pulling him forward and down, upsetting his balance. This may be referred to in some styles as “drinking”.

The body mechanics employed for defense set the stage for the offensive moves. Power for countering comes from, what is referred to in some styles, as “spitting”. In defense, the musculature at the front of the body was contracted and the weight dropped. At the same time the musculature of the back is stretched and primed for a forceful counter- contraction. This is the “wind-up” for Hindiandi strikes, which do not rely on things such as cocking the fist back to the torso.

In a punch, the power begins with the rear foot braced and pushing on the deck. Muscular contraction radiates power through a chain-reaction to the fist. The foot and thighs contract to provide a solid foundation for the
strike. Next, the right hip snaps forward and up, providing ballistic momentum to the strike. Finally, power is delivered through the upper body into the fist, which is really just the “tip-of-the-spear” delivering the body’s full momentum through the knuckles. In relation to the body, the fist travels only slightly, if at all. Remember, this is a close-in style.

In kicking, power is arrived at in much the same manner. The difference here is that after the hip-snap, the upper torso leans away as the kick comes. Not only does this move the head and upper-body out your opponent’s line of fire, but it helps provide force to the kick. The imagery involved is that of the upper body and kicking leg being a lever, and the non-kicking leg as a fulcrum. The weight of the upper-body falling back pulls the kick up with great force.

A good visualization for these defensive and offensive, “drinking and spitting”, maneuvers is that of the body as a bellows. In defense the front is contracted (bellows open). Energy is gathered in the back of the body (bellows fill). The back’s musculature violently contracts (bellows close). The strike is propelled forward (air rushes from the bellows – do not confuse this part with a “breathing” pattern). Personal experience has so far shown that the simultaneous forward-twist and upward thrust of the hip imparts most of the power to the strike.

Continuing on…
  • Hands are aimed at your opponent like the guns on a tank turret, ready to strike. Fingertips are slightly curled for snagging.
  • Hands are on-line with armpits, high enough to protect the face but not blocking your focus, low enough to handle strikes that come in low. In Hindiandi, much of the blocking is done with the wrist.
  • Forearms are parallel to each other, approximately 45 degrees to the deck. Elbows are approximately one fist away from the lower ribs they protect. Forearms are held close enough together to protect the center line, yet far enough apart to protect the flanks, and far enough in front to control the opponent, yet close enough to the body to project outward for a powerful blow. They are on the same level as the opponent’s weapons to present an obstacle course for his weapons to go around.
  • Waist is parallel or 45 degrees to opponent’s center line. This allows you to use all your weapons against your opponent without shifting your stance and keeps your unprotected back away from his weapons.
  • Thighs are tensed pulling inward for stability and to protect groin. Remember, your “legs are in a long, diagonal Sanchin stance” [R. B. SAFREED]. When kicking, thighs brush together to protect groin.
  • Knees are slightly bent for mobility and for adding power to strikes. The front knee is turned slightly inward to guard your groin against a kick.
  • Feet are planted in a Sanchin stance (wide for classical, narrow for modern). Front foot is turned in 45 degrees for stability of stance and to keep front knee in a position to guard the groin. Also, this makes it harder for an opponent to step on your foot. The rear foot is pointed toward the opponent for quick forward and backward shuffling movements, and to launch kicks to the front in the most direct manner. When shuffling or stepping forward, the toes of the forward foot are pulled back. This is because one of Hindiandi’s main lower-body techniques is to trap an opponent’s foot under yours. This pins him in place, and puts him off-balance.
  • Blocks are usually performed using the preferred method. This means that the defense flows with the opponent’s attack and redirects it in a manner that will shut down his center line and expose his flank to the direct counter attack of any of your weapons [R. B. SAFREED] Once your defense is initiated, the only way he can strike you is to go around his own limb, the one he just attacked with.

There are actually two stances used in Hindiandi. There is the classical stance which was used by Sensei Kaneshiro, and the modern stance which is taught by Sensei Advincula. The classical stance has the feet placed very far apart as in Isshin-ryu’s Seiunchin but the toes are turned inward. Hands are held in front of the body in a classic Chinese salutation (left hand over right fist). This hand positioning indicates peaceful intentions, but in Hindiandi it is also used for fighting. Sensei Advincula’s modern stance has the feet closer together, as in Isshin-Ryu’s Seisan, and the hands are apart with the palms facing forward. This revised foot placement allows for greater mobility. The position of the hands is intended to imply a willingness to negotiate a peaceful resolution. “Hey, I don’t want any trouble.” However, the hands are also in a good position to guard the body, block, or strike without telegraphing. Modifying the classical Hindiandi stance to work with situations encountered in modern western culture is in keeping with the “Make it Work” principle.

3. Make it Work!

Techniques have to work even when they don’t. One way to do this is have multiple applications for techniques. Fighting is haphazard and unpredictable, the problem lies in reacting appropriately to random attacks. When one technique addresses multiple ways of being attacked, the possibility of success increases considerably.

Another way to increase your chances of success is to have several techniques to cover specific or similar situations. Then you flow from one to the next, or even combine elements, until you’ve achieved success over your opponent. We described this as going from plan A to B then C and so on.

Finally, if one uses the proper body management covered by the Second Principle, coming back to the points of reference automatically, after every movement or sequence of movements, the practitioner will be in the optimal position to defend, attack, or counter as needed. This way, techniques flow together without letting down the guard. Constant recovery to the stance gives a psychological advantage of helping maintain composure and keep up the fighting spirit even if some attempts fail [C. REMSBERG, 1993].

4. The Dynamic Sphere

Hindiandi combines hard and soft techniques. Soft techniques are defined as those that use an open hand and hard techniques as those utilizing the closed fist. For visualization purposes, the Chinese yin-yang symbol (Tai-chi) represents a sphere of violently swirling gases. If your open left hand were to represent the yin, and your clenched right fist the yang, then your hands in motion resemble this dynamic sphere of yin and yang. One of the major intents behind Hindiandi’s defensive techniques is to use an opponent’s momentum to “suck him into the whirlwind”, from which point your momentum takes over to decide the outcome of the exchange. Usually, as in Bogushin Kata, the left hand blocks with soft, flowing techniques, and the right hand strikes with hard, direct techniques. However, this distinction regarding which hand does what, is not a hard rule for Hindiandi.

Training Methods

The training methods used by Sensei were continually reinforced these principles until they were second nature to the student. Here these methods have been categorized as phases. “The Four Phases of Hindiandi Training” are outlined as follows:

Phase 1 – Basics (with self defense applications), “Bogushin” kata and bunkai, and introduction to the “Three Principles of Hindiandi”.

Phase 2 – Drills, drills, and more drills.

Phase 3 – Free fighting (controlled contact with no protection, controlled contact with some protection, and full contact with full body armor).

Phase 4 – Supplementary Training with Escrima, Special Equipment, and other Kata. Spontaneity is acquired through free-fighting is further refined by practice of Hindiandi’s Sanchin Kata.

These phases are cyclic. You go from phase 1 through phase 3 then start over. Sometimes this may take as long as one month, as it did my first month. Other times we went through the whole process in one night. Phase 4 was practiced all along, as needed, when convenient. Now let’s take a closer look at these “Four Phases” and how they helped to perpetuate the fighting philosophy put forth in “The Three Principles of Hindiandi”.

Training Phase 1

In Phase 1 the student is taught the basic exercises of Hindiandi with full explanations as to their self-defense applications. This way the student leaves the dojo with something he can put to use right away if necessary. He is already being taught to “Make it Work!” After a few practice sessions with the basics, the student is taught “Bogushin Kata”. At this point he is introduced to “The Fist Strikes From Where It’s At” and “One Inch Makes All The Difference” because proper performance of “Bogushin Kata” requires adherence to these principles. Bunkai for this kata is also taught to further perpetuate “Make it Work!” At this time the student is formally introduced to the “Four Principles”. He is taught that they are indispensable to Hindiandi, requiring comprehension, memorization, and adherence.

Training Phase 2

Phase 2 is essence of Hindiandi training. Mr. Craig once told said, “For the most part, there are two kinds of martial arts. Styles that use kata as their primary training method, and those that use drills. Hindiandi uses drills.” Our drills were a game played between partners, one attacking, the other defending. As the defender countered, the roles switched, making these exchanges a rhythmic flow. Players begin slow, back and forth, to get the feel of the technique. Then, the pace and intensity would increase incrementally, until the drill almost resembled free fighting, except for the same techniques being played over and over again. Once the interplay reaches this required intensity, the players attempt to score hits with their attacks. In order to be successful, not telegraphing is absolutely essential. To not be hit, proper body management is essential. In addition, as the intensity of the competition increases, the pattern may be occasionally be broken to launch an unexpected attack. Being locked into a single reaction from the constant drill, you are now required to “Make it Work!” As you can see, surviving these with pride and body intact requires adherence to the “Four Principles of Hindiandi”.

Training Phase 3

This phase was visited with the least frequency and was used as a measure of progress. Free-fighting identifies which skills we need to further practice. An extension of the flowing drills was used as a transition to free fighting. In these drills one student would only attack, the other would only defend. After a time these roles would be traded. Once comfortable with this mode, the participants advance to a controlled contact situation while wearing protective gear – usually eye and groin protection. The pinnacle of Phase 3 is full contact fighting with helmets and body armor. As already mentioned, discrepancies identified in this phase were the homework to carry back to Phases 1 and 2.

Training Phase 4

Although not exactly necessary to learning the art, training in Escrima was an invaluable aid to progress. The benefits are too many to be ignored: greater grip and forearm strength; faster hand speed; better eye hand coordination; fluidity of motion; quicker reflexes; More reliable peripheral vision; a sixth sense that lets you know when and where to move to avoid being hit (known as occupying dead space). The list can go on and on. It’s highly recommended to practice Escrima along with Hindiandi.

Also worthy of note is Sensei Advincula’s inclusion of makiwara training. Although it was not taught by Master Bogushin, the obvious benefits make it an important practice for anyone serious about self defense. Besides the traditional Okinawan variety of makiwara there is one especially built for Hindiandi. It is an octagon-shaped ring made of wood, lightly padded, and mounted to the wall with steel bars, which held it away from the wall about a foot. The idea was to practice striking the inside of the ring with the wrists, thus conditioning them as one would fists on the regular makiwara. This device aids the user in developing tremendous chinkuchi for the wrist blocks. Sensei Kaneshiro himself recommended against use of the traditional Okinawan makiwara. Instead, he used a spring-mounted makiwara, that he pushed with his fist. If the tales of his power were true, this was all that was necessary.

There is evidence that Sensei Kaneshiro had strong Taoist leanings. In addition to the one fixed kata, “Bogushin”, He taught a kata “Sanchin.” However, the emphasis in Hindiandi Sanchin is not kinesthetic awareness or dynamic tension, but development of spontaneity in techniques. The only apparent structure is to perform techniques spontaneously, in sets of three, in any of the eight basic directions which are chosen randomly. Students are introduced to this exercise about the same time as free-fighting. It goes without saying that one does not have to practice Hindiandi to benefit from this practice of spontaneous Sanchin.

Conclusion

It must be mentioned again that there are some differences in the classical Hindiandi as taught by Sensei Kaneshiro and the modern Hindiandi as taught by Sensei Advincula. The differences in Stance and Kamai have already been enumerated. Sensei Kaneshiro was also adept at attaking pressure points, whereas Sensei Advincula emphasizes the “Big 4”: eyes, throat, solar plexus, and groin. Advincula students are also allowed to use a verticle-fist punch. Classical Hindiandi used a corkscrew-fist, minus a preparatory retraction of the arm. Purist need not be alarmed by differences such as these. If Hindiandi is influenced by Taoism, then change, in the name of practical adaptation, is acceptable.

Sensei Advincula’s students were required to select a “major”. Most of the students were there to learn Isshinryu, a few to learn Escrima or Hindiandi, and at least one for Kobudo. However, if one sticks around long enough, they learn a little of everything. But it’s not just a style or two that one learns, but principles and philosophies that apply to any martial art. For example, Mr. Craig integrated Hindiandi with several previously learned systems. Hindiandi principles work well with Uechi-ryu, Aikido, and USMC Martial Arts (MCMAP). It can be likened to a master-key for martial arts success.

Books could be written about Sensei Advincula’s personal Martial Arts philosophies (Advincula-do). Titles such as “Flight and Critical Distance”, “Doctrine of the Mean”, “Anywhere I Hit is a Pressure Point”, “What Don’t You Understand About No?” should be required reading for Advincula students.

The best thing of all was the fellowship enjoyed in the dojo. Despite the sometime difficult training, Sensei and his students were always genuinely friendly and courteous. Many thanks to Sensei Advincula and his student for the terrific three years spent at the Oceanside, California Dojo.

References

SAFREED, R. B. An Okinawan Secret Revealed: Hindiandi and The Number One Strong Man of The Island.

REMSBERG, C. (1993). The Tactical Edge: Surviving High Risk Patrol. Northbrook, IL: Calibre Press, Inc. (Note: This is an Amazon affiliate link.)

Commentary by Megami Dojo

I’d like to highlight that Keith Craig taught 5 principles of Hindiandi, as opposed to the 4 principles discussed by Zane Legg in his article here.