SISTEMA HOMO LUDENS (Playing Man)

Combat, as a diverse conglomeration of specific practices of relations with oneself and others, necessarily implies movement as a horizon of more or less set possibilities. For each of us, the possibility of movement is so axiomatic and immediate that we almost never think of it. The moves that people make are most often instrumental in character – walking from part of the town to another in order to get to work, bending over to reach an important document in a drawer, sitting down to get rest, etc. The common thread for all these motions is that they are not an end in themselves, but rather aimed at some purpose exterior to the movement itself. On the other side, in the window of glorious human dignified practices are those that have taken movement to an art: acting, ballet, dance, etc. What does it mean? It is to say that within those practices the movement is not in the function of some immediate goal, but instead it rises to the fullness of its temporality, which realized its essential capacities through the play. Play, therefore, is not something we use to attain any other goal – it is a goal in itself.

The common attitude is that in combat training most important issue is the command of various fighting techniques. Nevertheless, in the course of such training, what is referred to as techniques, and meant to be the desired outcome of a movement, is usually simply “glued” to a body that tries, under the pressure of desire for success, to anticipate the unpredictable spontaneity of the situation, in which only a body educated through movement can lead to more or less favorable resolving of the conflict. The technical training attempts to compensate for what is lacking in the domain of corporal education, by reaching for the satisfactory outcome in a strictly controlled situation. That way, the combative training instills in its practitioners the uncritical self-confidence in an irresponsible manner, the self-confidence that is not founded in the freedom of move, but rather in the fantasy of efficiency.

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SYSTEMA SEMINAR JUNE 2010

 

 

Now you have an opportunity to learn and train Systema with senior instructor Alex Kostic in a beautiful, healthy and wild environment. At the same time accommodation is in deluxe hotel. Everything that Systema and Serbia have to offer is in the grasp of your hand.

Learn: take downs, fist fighting, leg fighting, knife work, ground work, biomechanical exercises, knife throwing, multiple opponent and mass attack work e.t.c.

Enjoy: Beautiful mountain higher than 2000 meters, training above the clouds, visits to medieval monasteries, hiking, swimming, hospitality of local people, healthy food and world famous domestic brandy.

 

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CLUB CLASSES

Members of club "Vukovi" (the wolves) are training under supervision of Alex Kostic (info). Trainings are opened for visitors so feel free to take a look or try.

 

 

• No Belts or Uniforms
• No Katas or Stances
• No Formalities or Rituals
• Just Real, Practical and Exciting Training

The Russian style of martial art dates back to the 10th century.
Throughout the history of this huge country, Russia had to repel invaders from the north, south, east, and west. All attackers brought their distinct styles of combat and weaponry. The battles took place on different terrain, during freezing winters and sweltering summer heat alike, with the Russians often greatly outnumbered by the enemy forces. As a result of these factors, the Russian warriors acquired a style that combined strong spirit with extremely innovative and versatile tactics that were at the same time practical, deadly, and effective against any type of enemy under any circumstances. The style was natural and free while having no strict rules, rigid structure or limitations (except for moral ones). All tactics were based on instinctive reactions, individual strengths and characteristics, specifically designed for fast learning.

 

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