About the Instructor
Michael Kolar

YPAA Martial Arts Association

July 30, 2006

To Whom It May Concern,

It has been my pleasure to have known Mr. Kolar for nearly ten years. I have worked with him on numerous occasions, in leadership, in training, and in teaching & working with children and adults.

Michael has demonstrated excellence in all of his undertakings of the martial arts training. He has incredible energy and focus, with enthusiasm evident in what he does. He is able to resonate on a personal level with students of all ages. He is 100 % reliable. I have found him to be someone you can depend on to accomplish whatever he commits to do.

Michael is also a person of great integrity. It is paramount that young people of today have role models to whom they can look for examples and understanding. Michael epitomizes an excellent teacher in my estimation. He has passion for learning and teaching. He is teachable as well, meaning that he is able to grasp concepts that he needs to learn and is willing and eager to learn new techniques and methods that will be of benefit to him and his business.

Michael is a self-starter. He is unafraid to tackle unusual tasks and is inventive and creative in problem solving. He focuses on a win - win philosophy in all his interactions. I have seen him employ this philosophy in potentially difficult situations and come through the experience feeling great. This is an unusual characteristic and one that is highly effective in teaching the martial arts and in operating a martial arts school.

In every respect, without reservation, I recommend Michael Kolar to you for the opening of his martial arts school. He and his school will be a proud addition to your city. And, it will be my pleasure to continue providing him with any assistance that I can, for as long as he needs it. Sincerely, Dee Daniels President : YPAA Martial Arts Association 515 - C N. Abbe Road Elyria, OH 44035 Tele. No. # ( 440 ) 366 - 9493

Born Michael Edward Kolar on May 31, 1967, in Cleveland, Ohio. Michael began his years of adolescent stages of development in Newburgh Heights and later the old historic 'Slavic Village' - The Fleet Avenue Area. Michael attended elementary school at local parish St. John Nepomucene and then went on to attend high school at Cleveland Central Catholic's Foreman campus.

Michael Kolar's fascination with art & the martial arts both began when he was at the tender age of nine. Mesmerized by martial arts legend Bruce Lee after seeing 'Enter The Dragon'. Meanwhile, he simultaneously became fascinated with the magic & illusion of fantasy Artists such as Frank Frazetta, Ken Kelly & Boris Vallejo. Michael's prolific talent as well as his skill remain a dazzling unquestionable array of technique, talent and genius. Ranging from simple to the intricate & complex, which is then transformed into the most original & destined to become one of the most 'influential Martial Arts Instructors' of the modern era. Michael Kolar re-wrote the rules for Martial Arts ( Self - Defense & Fighting ) teaching in general.

Michael Kolar is a Martial Arts Master who has redefined what developing a blindly fast technique with a variety of self - taught ( mimmicked & brilliantly inventive ) over - the - top performance of martial art standards could be. In the process this makes Michael Kolar a Master enraptured by setting the template that was said to be impossible - the core of which is the formulation of new style & school of martial art - 'The Art of Kinjiru', i.e, ( Kinjiru Academy).

Artist, Musician & Martial Artist, in each field of creative endeaver is both master and pioneer, Master Michael Kolar is a Visionary creator whose reality would inevitably come to pass against a backdrop of 20th century sarcasm. Only to satistfy a limitless desire for knowledge, talent, wisdom and skill.

Michael Kolar tells the remarkable ability of boundless creative talent and courage in the face of powerful adversity. Who now devotes his time and energy to enrich the lives of his students with these same enduring qualities and attributes.

I've studied different arts and I've noticed that most if not all
of them favor having you shadowbox the techniques. This is the
traditional way - the old way ! Which is practicing forms in sequence ;
because it's external complex stuff.

The key point I want to make is that when we are shown a technique or a form we can all copy that technique. But to copy and imitate something that's obvious is not being able to to know what that movement really means. You can know many things but to have the internal aspect means that now : "You are making the way", i.e. , understanding what that technique is used for and how to apply it in multiple - multiple applications.

You must be able to see that one form or application of the technique is one way and therefore is a limitation ! The new way is to teach the use of the practitioners 'tools' with a partner. And the key is to be shown all of the various applications of these complex movements. So that the idea here being - that when we engage in practicing the 'martial arts' we have a teacher like myself. Because - the fact is that most if not all martial arts schools do not teach the 'concept' that - this could be ; a throw ; a lock ; a reversal ; a takedown ; a choke ; a strike ; a counter. It can be many things.

I want you to understand that I intend to expand your 'knowledge' as well as your 'awareness' of the 'martial arts' in this context. Because, in a street altercation or a 'self - defense' situation - you will not remember the techniques. So, therefore ; if you are shown how out of all your basic techniques - comes all of the complex applications. Now you are 'understanding' how it can be many things. This way you are taking the 'concept' and using it in its 'totality' - and 'internalizing' it for yourself.

So, I have found that principally all of the techniques ( basics ) helps in understanding many other ways in which a single technique can be used. And now in retrospect referring back to when I mentioned that ; "You are making the way", what I meant was that - each move or technique sets up each additional move and makes the way for next move. Now through with this attitude & training methodolgy - you'll see that all techniques are set up in this way. Because, when you understand the 'principle' that is behind the technique, then it doesn't matter which technique you use - you will then see that it comes out of universal 'principles' which are used in endless variations of movement or techniques !

And it is at this point that you'll come to the realization of the concept of 'totality' that resides within the martial arts ; which is based upon the same basic 'idea' or 'concept'. Then you will no longer see according to 'style' or 'form'. You will now see the 'fomlessness' of formulated movements and the abstract 'shapeless - invisibility' that lies within the stealth of your own movements ! Remember, that when we talk about this idea in - The Art of Kinjiru - we in large part are coming to the understanding of the internal aspect of the martial arts. And the segway to this 'internal realization', is founded on the principle of - the practitioner being required to engage or move in close against the attacker in an upright position. Then use the
various hand & foot maneuvers which are employed.

You see in this style : The Art of Kinjiru - we emphasize the idea of forward pressure. But we must'nt fool ourselves ; because our 'instinct' is to 'evade' so that we will not be injured. So, therefore - it's much more instinctive in man's 'nature' to try to 'escape' or 'evade'. But, to be in close close ( in - fighting ) we are out of danger. Because, when you are in close now your adversary has to move and get set to strike ( attack ). So, as long as you 'maintain' pressure on your attacker keeping him 'off - balance' ( his center of gravity or his vortex ) ; and do not allow him to get set you're safe from being injured.

That's important - remember that ; because - that's the critical difference between 'self - defense' versus martial arts that have become 'sport', i.e., Kumite & full contact Karate. And we 'make the way' into ( close - range ) through 'striking'. In the art of Kinjiru empty - hand techniques are very 'concise' and 'stripped' of ( wasted motion ). A significant amount of 'striking' and 'grappling' is used in this art - most of the concepts are based upon getting your opponent off - balnce in order to to make use of 'sweeps' or 'takedowns' ; whereby we 'trap' our attacker 'momentarily' and 'loosely' so that that practitioner of the art of Kinjiru is not committed to 'applying' his ( bodily pressure ) to the point that he can no-longer have enough 'leverage' to continue the methods of self - defense.

Again ( striking ) is used on an assailant before the practitioner begins adapting him or herself and changing their range ; where we will then go into 'intricate' maneuvers or the techniques which are useful for grappling ; locking ; throwing as well as choking. As the practitioner finishes one technique with a takedown or a follow - up one 'immediately' covers and assumes the on - guard position. Therefore there is resultant fact of the overkill principle which is prevelant in the art of Kinjiru - due to the awarenes that one or two blows will 'never stop' an assailant. Therefore, repeated follow - ups and techniques are incorporated for safety purposes !