When was the last time you truly failed? It’s a question we’d all rather ignore. We’re often taught to gauge success by how well we avoid missteps, and society applauds our continuous forward motion. But what if I told you that failure — yes, failure — is actually the secret ingredient to unlocking growth and future success? If you measure progress solely by the intervals between mistakes, you’re overlooking the most valuable insight: failure isn’t something to dodge; it’s something to embrace. Missteps, blunders, and even outright failures are, in fact, the very building blocks of achievement. You simply can’t grow without them. Failure is the ticket price for the success you aspire to achieve. So the next time you’re hesitant to fail, remember that every setback lays the groundwork for your comeback. Embrace failure, use it to fuel your momentum, and get ready to crush your 2025 goals. But here’s the catch — it’s not failure alone that guarantees growth. It’s our awareness of that failure and our ability to extract lessons from it. Growth comes from how  you respond to failure. How you reflect, learn, and apply those lessons to the future. You see, it’s not about how often you fall. It’s about how quickly you rise, and how much wiser you become in the process. This philosophy isn’t new. In fact, it’s been embraced for centuries by cultures around the world, especially in ancient Japan. There’s a practice that perfectly embodies this idea, and I’m about to tell you why it’s just what you need in your life. The Ancient Japanese Tradition That Can Change Your Life One of the most powerful images many martial artists have in their mind when visualizing harsh training is that of a hardened Japanese warrior standing beneath a freezing waterfall, allowing the icy torrents to pour over his body. This isn’t some ancient ritual for the sake of pain; it’s a practice known as misogi or takigyo , and it’s all about purification, endurance, and personal growth. The purpose is simple yet profound: it’s about pushing beyond your limits. It’s about embracing hardship — physical, mental, and emotional — in order to purify yourself and prepare for the challenges ahead. In the frigid water, under extreme conditions, a warrior is forced to face his fears and discomfort head-on, because that’s the only way to emerge stronger, more resilient, and ready for whatever life throws his way. In fact, Morihei Ueshiba (the founder of aikido) is even said to have regularly traveled to Kumano Nachi Falls for meditation in this style in his search of self-perfection and refinement of the art. Mind you, you don’t have to stand under a freezing waterfall to benefit from this philosophy. The core principles — pushing beyond limits, facing discomfort, and learning from adversity — can be applied to your everyday life and martial arts training. The Modern Era We live in a world where distractions are everywhere. From constant information overload to the overwhelming ease of indulging in whatever feels good in the moment, we’ve become experts in avoiding discomfort. But that avoidance comes at a price: we miss out on the personal growth that comes from challenging ourselves. In today’s world, your version of the Japanese practice might look different. Maybe it means running your first ultra marathon, or stepping away from a job that no longer fulfills you and finally committing to your own business. For you, it might even mean setting a goal to travel overseas and train in martial arts for months, totally immersing yourself in the discipline. The point is this: challenge yourself.  Don’t take the easy route. Embrace difficulty. Seek out experiences that will push you beyond what you thought was possible. In fact, I’m going to challenge you right now. Are you ready? Your Path to Transformation Here’s the formula: Pick a goal.  For instance, let’s say you want to win a martial arts tournament. Make it 10x harder.  Now, instead of just winning, aim for something even bigger — like becoming the NASKA World Champion. Take action immediately.  Stop reading this article, and go find the next competition. Commit to it. Start training. Right now. This isn’t about just achieving something. It’s about the transformation  that happens in the pursuit of your goal. The process of pushing yourself, of embracing the struggle, of learning from every setback — that’s where the real magic happens. It’s not about winning the tournament. It’s about becoming a different person in the process. Much like how the black belt you're wearing doesn't matter — it's about who you became in order to wear it. Your transformation isn’t just about achieving a title or a trophy. It’s about becoming someone who never quits  — someone who embraces failure as part of the growth journey. It’s about committing to the work, trusting the process, and knowing that at the end of it, you’ll be stronger than you ever thought possible. Pick your goal, make it bigger, and take action today. If you do, you’ll find that failure doesn’t define you — it refines you. And when you look back at all the obstacles you’ve overcome, you’ll realize that each one was an essential step toward becoming the person you were always meant to be. It’s time to grow.

Athletes are always seeking results. They’re looking for a leading edge that might make the difference between a razor-thin victory and fading into obscurity with the question, “What was the name of the guy who came in second?” To achieve those results, countless tips and tactics have been offered—and continue to be. But not all of these suggestions are rooted in fact. Some are steeped in superstition, while others are driven by market dynamics (aka, the desire to make a buck). In an effort to shed some light on this, let’s carefully navigate the fitness minefield and uncover the exercises to avoid as a fighter. Keep in mind, these are merely my opinions and observations. 1. The Plank Holding the body in a fixed position seems to take the athletic world by storm from time to time. Whether it’s the plank, the wall sit, the Hercules chair, or the horse stance, we’re supposed to believe that by staying stock-still, we’re preparing ourselves for an activity that requires movement. When I hear advocates of the plank, I’m reminded of the character George Michael from Arrested Development , who in one episode was proud of his achievement of being able to hang from a bar. (More on bar hanging in a moment.) Yes, I see the utility of holding a plank as a training step for those who can’t yet do a push-up. Yes, holding a plank for an extended period is difficult. Yes, I’ve heard the argument that it can build mental toughness by “muscling through” an extended plank session. But here’s the thing… You know what else builds your body like a push-up? A push-up. You know what else is difficult? Functional movement under load that mimics your physical pursuit. And you know what else fosters mental toughness? Hardcore functional movement and participating in your martial art. My guess is that the plank mentality has become so prominent for three reasons: It’s egalitarian—anyone can hit a plank for at least a bit. No gear is required. It’s an easy way to fill time in a group class. As martial arts teachers and practitioners, why would we allow such a basic, static position to take up so much of our training time? The plank isn’t even a sensible form of active recovery—it’s just something we’ve adopted for no good reason. There are, however, two static exercises that pass the functional smell test: the dead hang (a must-do for rock climbers and aspiring ninjas) and the neck bridge (essential for those involved in wrestling sports that still use a pin). 2. Cardio Sessions for Fixed Times I still occasionally hear the phrase, “You know, for cardio I need to do this activity for this long.” My initial reaction is to ask, “What sort of event or activity are you preparing for?” This is because the human body responds to specificity. If you doubt that, just think about whether a professional soccer player, who requires extensive running, trains the same way as an NFL defensive lineman. Or whether a defensive lineman should skip sprints, power sled work, and ballistic lifting in favor of better 5k times. If you honestly think these types of training are equivalent, then put your money where your mouth is and bet on teams that ignore specificity. Oh, wait—you can’t. Because pro sports are a business, and they won’t allow such a useless training plan to hurt their marketability. I suspect that much of the “cardio for this long” trend is simply a way to make class schedules work. Aerobics classes, Spinning, and the like often use this training methodology because it’s easier to fit into a gym’s schedule. If you’re a cardio trainer getting paid by the hour, you won’t put food on the table if your client gasses out after eight minutes of hardcore sprint work. To those who time their workouts and are vocal evangelists for “Our ancestors ate and trained like this,” I ask: Do you honestly think that Caveman Thag Reynolds and his hunting buddy, Crag Sullivan, were ever persistence-hunting a gazelle when they checked their sundials and said, “Better knock it off for the day—I don’t want to overtrain”? 3. Spot Reduction We’ve all heard (or uttered) variations of the following: “What do I need to do to get rid of this gut? A bunch of sit-ups?” “What exercise gets rid of love handles?” “My butt is a little heavy—will lunges help?” It’s an easy mistake to make because it seems like a cause-and-effect relationship: “Hmm, my gut is getting bigger. I need to focus my activity on my gut to make it smaller.” But when we think this way, we ignore the flip side of the spot-reduction fallacy: Can anyone point to a specific activity, lack of activity, or single food that caused a person to pile fat onto the gut, hips, or butt? No. It doesn’t work that way. If an overall lack of activity is the cause of these fat deposits, why isn’t the fat distributed evenly? The answer is a combination of genetics and hormonal profiles, but let’s avoid getting too deep into the science. In general, men tend to deposit fat around the middle, while women tend to deposit fat around the hips and thighs. The key takeaway is that these fat deposits didn’t happen because of a lack of targeted activity. They resulted from an overall pattern of behavior. In a nutshell, spot-reducing and targeted-toning simply do not exist in the real world of human physiology. To reduce the size of trouble areas, you must stop trying to target specific spots and focus on overall exercise. The more your body works, the faster it will reverse course on those trouble spots. If you want to lose the love handles, skip the twisting sit-ups and opt for multi-joint, big-movement exercises that burn calories and fat overall. Don’t assume that just because you’ve performed crunches until your stomach is sore, you’ve burned fat from that specific area. Chances are you’ve simply fatigued a muscle. You’ll do more to burn fat in those trouble areas by opting for a series of sprints, barbell thrusters, and jump-rope sessions than you will by doing endless sit-ups. One more thing: If you believe that exercising a single body part will reduce its size, why don’t you see right-handed professional tennis players with itty-bitty right arms? The human body simply does not work that way. To achieve true fat loss and transformation, you need an overall fitness approach that eventually targets problem areas and helps you become a better martial artist.

In today’s fast-paced world, martial arts have become more than just a means of self-defense—they’re a lifestyle. Whether you’re looking to improve your fitness, enhance your mental health, or learn to protect yourself, there’s a martial art that fits your needs. But with so many options available, how do you choose the one that’s right for you? This detailed guide for 2025 will help you navigate the world of martial arts, understand what each discipline offers, and make an informed decision tailored to your goals and lifestyle. Why Martial Arts in 2025? Martial arts have evolved significantly over the years. In 2025, they encompass traditional disciplines, cutting-edge training techniques, and even technological advancements like AI-assisted coaching. Here’s why martial arts remain a popular and effective pursuit: Physical Fitness:  Martial arts provide a full-body workout that improves strength, endurance, flexibility, and cardiovascular health. Mental Resilience:  Training enhances focus, discipline, and stress management. Self-Defense:  Practical techniques can help you feel safer and more confident in real-world situations. Community and Culture:  Joining a martial arts school often means becoming part of a supportive, like-minded community. Key Factors to Consider When Choosing a Martial Art Selecting the right martial art depends on several personal factors. Here are the most important ones to consider: 1. Your Goals Self-Defense:  If your primary aim is to protect yourself, consider Krav Maga, Brazilian Jiu-Jitsu (BJJ), or Jeet Kune Do. These arts emphasize practical, real-world techniques. Fitness:  High-energy disciplines like Muay Thai, Kickboxing, and Capoeira are excellent for burning calories and building endurance. Mind-Body Connection:  If you’re seeking a more meditative or spiritual experience, arts like Tai Chi, Aikido, or traditional Karate may be more suitable. Competition:  Sports-oriented martial arts like Taekwondo, Judo, or Mixed Martial Arts (MMA) offer opportunities to compete and test your skills against others. 2. Your Physical Condition High-Intensity Options:  Younger or more physically fit individuals may enjoy Muay Thai, MMA, or Wrestling, which require significant stamina and strength. Low-Impact Alternatives:  Older adults or those recovering from injuries can benefit from Tai Chi or Aikido, which focus on controlled movements and balance. 3. Time Commitment Some martial arts, like BJJ and MMA, require a significant time investment to master. Others, like Krav Maga, can teach you practical techniques in a shorter timeframe. 4. Cultural Interest Martial arts often come with rich histories and traditions. If you have a particular affinity for a culture, you might enjoy exploring its martial arts, such as Kung Fu (China), Kalaripayattu (India), or Capoeira (Brazil). 5. Budget and Accessibility Martial arts classes vary in cost. Popular styles like Karate and Taekwondo often have established dojos in most areas, while niche disciplines may require travel or higher fees. Deep Dive: Popular Martial Arts in 2025 Here’s a closer look at some of the most popular martial arts and what they offer. 1. Mixed Martial Arts (MMA) Best For: Competitive fighters and fitness enthusiasts, MMA is the ultimate hybrid of striking techniques like Boxing and Muay Thai and grappling arts such as Wrestling and Brazilian Jiu-Jitsu, making it perfect for those aiming to train like pros or dominate in high-stakes competitions. In 2025, cutting-edge training simulators revolutionize the game, offering real-time performance analysis to refine your skills and push your limits like never before. 2. Brazilian Jiu-Jitsu (BJJ) Brazilian Jiu-Jitsu (BJJ) is perfect for those who value strategy over sheer strength, offering a highly technical martial art that rewards patience, precision, and intelligence. With a focus on ground fighting and submissions, BJJ is particularly well-suited for self-defense and smaller individuals, proving that technique can triumph over size. Whether you're looking to build confidence, improve problem-solving skills, or master the art of leverage, BJJ empowers practitioners to outthink and outmaneuver opponents, making it an unbeatable choice for anyone seeking a thoughtful yet powerful approach to martial arts. 3. Krav Maga Best For Real-World Self-Defense: If you're looking for a martial art designed for real-world situations, Krav Maga stands out as the ultimate choice. Developed for the Israeli military, it focuses on neutralizing threats quickly and efficiently, making it a no-nonsense approach to personal safety. Whether you're dealing with unpredictable scenarios or need effective techniques to protect yourself and others, Krav Maga equips you with the skills to handle real-life confrontations with confidence and precision. Practical, straightforward, and highly effective—this is the self-defense system you can count on. 4. Muay Thai Muay Thai, famously called the "Art of Eight Limbs," is perfect for those seeking high-energy workouts that build striking skills like no other. Combining punches, kicks, elbows, and knees, this dynamic martial art is a powerhouse for fitness, coordination, and mastering devastating striking techniques. Whether you're looking to push your physical limits or sharpen your combat skills, Muay Thai delivers a full-body workout that keeps you engaged and empowered every step of the way. 5. Tai Chi Tai Chi is the perfect practice for seniors or anyone seeking mindfulness, offering a unique blend of slow, deliberate movements that enhance balance, flexibility, and mental clarity. This graceful exercise not only reduces stress but also promotes overall health, making it an ideal choice for improving physical and mental well-being in a calming, accessible way. 6. Jeet Kune Do Best For fans of Bruce Lee and adaptive techniques, Jeet Kune Do stands out as a revolutionary martial art created by the legend himself. By blending the most effective techniques from various disciplines, it offers a uniquely adaptive and efficient approach to combat. Known for its practicality and emphasis on real-world application, Jeet Kune Do isn’t just a martial art—it’s a philosophy of efficiency and adaptability, making it the ideal choice for those seeking a powerful, no-nonsense approach to self-defense and mastery. 7. Capoeira Capoeira is perfect for creative individuals who thrive on music and movement, offering a dynamic blend of dance, acrobatics, and combat that sets it apart as one of the most unique martial arts. This captivating practice goes beyond self-defense, immersing you in a rhythmic and artistic experience that feels like a celebration of culture and physicality. Choosing Capoeira means embracing a martial art that is as much an art form as it is a discipline—an exhilarating way to express yourself while building strength, agility, and coordination. 8. Karate Karate is the perfect choice for anyone seeking discipline, foundational techniques, and a strong connection to tradition. Known for its emphasis on striking techniques, kata (forms), and self-discipline, Karate instills focus and respect while building physical and mental strength. It’s an ideal martial art for beginners who want to master the basics and for those who value the timeless principles of tradition. Karate offers a structured path to personal growth, making it a rewarding journey for individuals of all ages. Emerging Trends in Martial Arts Training for 2025 AI-Driven Coaching:  Advanced wearables and apps provide feedback on form, timing, and efficiency. Virtual Training Programs:  Train from the comfort of your home with live or pre-recorded online classes. Fusion Styles:  Innovative instructors are blending traditional arts with modern techniques, creating hybrid systems. How to Get Started Research Extensively:  Watch videos, read reviews, and explore forums to learn about different martial arts. Try a Few Classes:  Many schools offer free trial sessions. Take advantage of these to see which art resonates with you. Set Clear Goals:  Decide what you want to achieve—whether it’s fitness, self-defense, or competition—and choose accordingly. Find the Right School:  Look for qualified instructors, a welcoming environment, and a curriculum that aligns with your goals. Choosing the right martial art in 2025 is about finding what inspires and motivates you. Whether you’re drawn to the competitive edge of MMA, the strategic brilliance of BJJ, or the spiritual calm of Tai Chi, there’s something for everyone. Martial arts are a journey, not a destination. Embrace the process, challenge yourself, and enjoy the countless physical, mental, and emotional benefits along the way.

Words matter. But do they matter as much as action in the karate dojo? Not really. You can talk a great game, wax philosophically for an hour, or explain a concept in exacting, accurate detail. But if you cannot translate all those words into action, it doesn’t mean much. That’s one reason a lot of talking isn’t necessary in training. You can learn something intellectually, but if you do not karada de oboeru  — “learn with your body” — you’re still critically unschooled. That said, to ignore words is to miss a critical entry into some areas of karate that need to be studied and understood. Trying to explain the transmission of power is among the most challenging of tasks for the karate teacher. The Transmission of Power in Karate It’s interesting that in typical Japanese dojos, little explanation is given to transmitting power. The Japanese equivalents of “hit” and “strike” are most commonly used. This might reflect the importance of bladed weapons in Japan’s martial culture. A Japanese sword cuts on contact. There isn’t much need to describe finer details. (Note, however, that in the Chinese fighting arts, where there’s a strong emphasis on strategies that involve using the body instead of a weapon, terms to describe the application of different kinds of power are numerous. Strikes in the Chinese arts can be described approximately using words like “pounding,” “disrupting,” and “exploding.”) Okinawan karate, an amalgamation of Japanese and Chinese sources merged with native roots, seems to fall somewhere in the middle. There are terms in Uchinaaguchi , the Okinawan language, that distinguish methods of transmitting power. What is revealing is that there are no satisfactory Japanese equivalents. When we come across something of this nature, it’s a good idea to examine it closely for what it might reveal. Atifa: A Unique Okinawan Concept Atifa  is an Okinawan word that refers to transmitting energy in a specific way. Pushing a door open is not an example of atifa . Jerking up a window is. Atifa  carries the connotation of “shocking” or, more accurately, “pulsing.” Punching a heavy bag is not atifa . Place your palm on the bag, then relax the muscles in your arm until you’re using just enough energy for the palm to stay connected to the bag. Put your feeling down into your hips. Try to tighten the muscles there, then let that quick tightening travel all the way up your side and into your arm. Don’t push. Try to just give a shudder or a pulse. You’ll make the bag move, though it will probably be just a twitch. That movement is an expression of atifa . There are, of course, colorful stories of martial arts masters who can, with some mysterious touch, cause shockwaves to be transmitted that will disrupt blood flow or the heart’s beating or work some other magical damage. Perhaps these skills really exist, but I’ve never seen them. Atifa , however, while it’s subtle and does require a lot of training, is not in this realm. Think of it this way: There’s the steady, continuous force exerted in turning a jar’s lid. There’s also the brisk, relatively light force exerted on a tight lid when you rap it with the back of a knife blade to loosen it. Atifa  is that latter kind of energy application. Not magic, just physics. The Role of Relaxation in Atifa There’s a reason — forgive the simplicity here — you can make a whip crack more easily than you can a stick. The flexibility of the whip allows it to travel fast enough to make the noise. Another word for flexibility here is “relaxation.” Atifa  requires relaxation. It’s easy to talk about relaxation when there’s no real danger, no sense of urgency. Under the extremes of violence, though, we all know that “freezing,” or tightening one’s muscles, is a response that’s difficult to overcome. The path toward mastering atifa  lies in dedicated, continuous training. Training the Atifa  Technique One practice that will give you an idea of how atifa  works is using the makiwara. Some old Okinawan karateka insisted the makiwara was essential for learning to strike with atifa ; they maintained that the notion of using the padded post just to learn to strike with more muscular power was a perversion of the instrument and a misinterpretation by the Japanese that occurred after karate was transplanted to the mainland. Stand closer to the striking post than you would when making a reverse punch. Bend your arm so your fist is at the height of the pad and about a foot away from it. Now open your hand, shake your wrist and relax. Strike slowly, concentrating on keeping your hand relaxed. Make a fist just before contact is made. It’s important not to use power here. If your timing is off and you hit with any strength at all, a loose fist is a sure way to injure yourself. Your goal isn’t to make a stronger punch — not yet. It’s to make a more relaxed strike, one in which no tension is applied until the instant of contact. When you can reliably hit the makiwara this way, increase the distance of your strike. The best way to do this is to lightly swing your hand up and hit at a rising angle, instead of cocking your fist at your hip as you would in normal training. This kind of striking, while it takes time to develop, is more natural once you get a feel for it. Watch high-level karateka in sparring: Their arms are loose, relaxed. Beginners, on the other hand, make tight fists and keep them awkwardly held against their sides, as if they are doing a basic punching exercise in the dojo. Less-experienced karateka confuse those basics with what karate is all about. It’s tantamount to playing the scales when you want to perform in a concert. Learning to strike with atifa  is certainly on the upper end of training in terms of complexity. It must be a goal of the serious karateka, however. Dave Lowry has written Karate Way  since 1986. For more information about his articles and books, search his name in the search box.

Ke Huy Quan is back—and this time, he’s not just fighting for his life. He’s fighting for love. Love Hurts , the latest action-comedy from 87North Productions, throws Quan into his first-ever leading role in a full-fledged martial arts film, blending high-octane choreography with heartfelt (and hilarious) moments. Ke Huy Quan: From Childhood Star to Action Hero For martial arts fans, Quan needs no introduction. He captured hearts as Short Round in Indiana Jones and the Temple of Doom  and as Data in The Goonies , but after a long break from Hollywood, he returned in Everything Everywhere All At Once , delivering an Oscar-winning performance packed with incredible fight sequences. Now, in Love Hurts , Quan steps into the spotlight as Marvin Gable, a former hitman turned real estate agent whose past literally comes knocking in the form of his ex, Rose (played by Ariana DeBose). The film takes a classic rom-com setup—ex-lovers forced to work together—and flips it into a relentless martial arts thrill ride. But Marvin's story is far from simple. He receives a crimson envelope from Rose, a former partner-in-crime whom he once left for dead. Suddenly, he’s dragged back into a world of ruthless hitmen and double-crosses, where his open houses turn into deadly war zones. Hunted by his brother, a volatile crime lord, Marvin is forced to confront the choices that haunt him, all while trying to move forward with his life. Quan gets to prove he’s not just back in Hollywood—he’s here to throw down. Why Love Hurts Hits Different For martial artists and action lovers, Love Hurts  especially stands out for a big reason: the fights. Directed by Jonathan Eusebio, a legendary stunt coordinator known for his work on John Wick , The Bourne Ultimatum , and Black Panther , the film delivers brutal yet fluid choreography. The fights are visceral, using real-world martial arts techniques, creative stunt work, and just the right touch of comedy to make every hit count. Standout sequences sees Quan utilizing wing chun trapping hands, judo sweeps, and some Jackie Chan-style environmental combat. But it’s not just the action that makes Love Hurts  special—it’s the heart. Martial artists know that every fight tells a story, and here, the fights aren’t just about survival; they’re about love, regret, and second chances. As Marvin’s world unravels, each fight is a confrontation not just with his enemies, but with his past. 87North: The Kings of Hollywood Action If you love action films, you already know 87North. Founded by John Wick  co-director David Leitch and producer Kelly McCormick, the studio has been cranking out some of the best fight-centric films of the past decade, including Atomic Blonde , Nobody , and Bullet Train . With Love Hurts , they’ve taken their signature stunt-heavy style and fused it with a fresh, emotional core. Who Should Watch It? If you’re a martial artist, a stunt enthusiast, or just someone who loves a good action-comedy, Love Hurts  is a must-watch. It’s got crisp fight choreography, a charming lead performance from Ke Huy Quan, and a unique blend of romance and mayhem that keeps you hooked from start to finish. Bottom line? Love Hurts  proves that sometimes, love really does hurt—but watching Ke Huy Quan fight his way through heartbreak has never been more fun. Love Hurts  is available NOW in theaters!

It’s become increasingly difficult to legally arm yourself for the purpose of self-defense. Laws vary greatly from state to state, and the last thing you need is to find yourself jammed up because, although you legally defended yourself, you did it using an illegal weapon. The same can be said for using an inappropriate yet legally carried weapon. For example, a folding knife may be legal, but it might not be appropriate for the circumstances — yet it’s the only thing the intended victim has with them, so it gets used. Introducing any weapon into a violent situation can be problematic. Courts generally take a dim view of hurting someone with a weapon unless the situation clearly supports its lawful use in self-defense. The distinction between a purpose-built weapon and a weapon of opportunity is basically this: A purpose-built weapon is "an instrument of combat by design," whereas a weapon of opportunity is an everyday implement that’s at hand and pressed into service as a weapon because of urgency or necessity. Enter the Flashlight Which brings us to the point of this column: the flashlight. Notice I didn’t say “tactical flashlight” or “CQB flashlight.” The reason for the differentiation can be found in the preceding paragraph. In my opinion, if a structurally sound flashlight is designed with a sharp, crenulated bezel that’s specifically for striking, it is, in fact, a weapon. And to be honest, it’s a maiming weapon. I’m not mincing words, and I’m well aware of the plethora of such flashlights in the marketplace. What I’m suggesting is that you don’t purchase a light with sharpened edges or teeth designed to cut into an attacker. What to Look for in a Flashlight I always advise people to choose a flashlight based on a few important design features. First is diameter and length. I recommend a light that’s approximately 8 to 8½ inches long for a couple of reasons. It will carry well in a rear pocket, the average depth of which (in jeans) is 5 to 6 inches. A light that’s 8 to 8½ inches long means the head is positioned above the pocket rim and is instantly available, provided you have the right grip, to use as a bludgeon or dan bong  (Korean for “short stick”). The diameter should be ¾ to 1 inch so it’s easy to manipulate and can be used as a kubotan or koppo. If the diameter is right, the light will fit between your hand and wrist in the natural saddle that occurs near the styloid process on the ulna or radius side. If it’s too thick, it won’t be effective as a kubotan and can’t be held between the thumb and little finger as a koppo. The second feature is brightness,  usually measured in lumens. The light should be bright enough to legitimately “night-blind” a would-be attacker and preferably bright enough to diminish his vision in daylight hours as well. How bright is bright enough? If you have a light that produces more than 100 lumens, you’ll effectively diminish anyone’s vision at night. Brighter is better, of course, but that entails increased power requirements and better bulbs, which can adversely affect size. The third important design feature is construction. Most good lights today are made of “aircraft aluminum” and have decent shock-absorption qualities with respect to protecting the electronics and the LED bulb against damage from impacts. You’ll want to ensure that your light will continue to function as designed if you start hitting things with it or drop it in a struggle. The last pertinent feature is the switch —  in particular, the ease of use and resistance to unintended activation. This is mostly about personal preference. Some people prefer side-switching designs, while others like tail-cap switches. Suffice it to say that the one you choose should permit you to turn the beam on and off easily and with certainty, with only one hand. Putting the Flashlight to Use in Self-Defense Once you do some research and handle a few models — and it’s crucial to handle them — buy the light you believe best suits your purpose. Now, what do you do with it in a self-defense situation? I don’t have the space to get into the actual techniques here, but generally speaking, you have a blinding tool in your hand that you can strike with. In the simplest terms, if a thug was to approach you in a threatening manner, you could flash him in the eyes with the beam and run. If a thug was to walk up and physically threaten you, you could hit him in the eyes with the beam and then hit him in the head with the light. See what I did there? The light can function as a simple bludgeon, held in your hammerfist and used to smash into arms, chests, faces, and hands. It can be used as a kubotan or pain-compliance tool with a little familiarity and training. Either end of the light can be used against clenched hands or used to concentrate force into a small area, generating excruciating pain. The barrel can be used to roll against nerves in the wrist, creating some good pain as well. You also can wield a light like a dan bong — by holding the head (which is why I prefer lights with a head rather than designs that have a uniform diameter) in the ring created by your thumb and index finger. The rest of your hand cups the head, and the barrel protrudes from your hand. From this grip, you can whip the light and snap-strike targets effectively. Finally, you can hold it between your thumb and little finger in a way that permits usage as a koppo. That enables you to slap an adversary in the face or head, as well as parry a punch. The Flashlight: A Fight-Bender, Not a Fight-Ender Like a pocket stick, a flashlight likely will be a “fight-bender” and not a “fight-ender.” It can buy you time, distract, and dissuade. But unless you literally knock someone out with it while you’re in an adrenalized state, your opponent probably will keep fighting. The most important thing to remember regarding flashlight self-defense is this: Like with any purpose-built weapon, if you find yourself having to grab it, that should trigger your brain that you’re in a potentially dangerous situation and need to get the hell out of there. And like with any other tool, it’s the user that makes it effective. Otherwise, it’s just an object. If you’re going to carry a light for self-defense, you need to train with it.

You've Learned Your Kata. Now It's Time to Modify Them So You're Better Prepared to Defend Yourself Against Any Adversary! When facing a real attack, creativity and quick thinking are critical for survival. The problem is that, in moments of stress, most people tend to fall back on a single, familiar response—whether it’s worked in the past or not. This tendency is one of the main challenges martial artists must overcome, and the goal of martial arts training is to help you avoid it. Training in martial arts is designed to develop your ability to solve a variety of tactical problems during a crisis. This process cultivates several key attributes, with mental flexibility  being the most important. Interestingly, traditional self-defense arts help foster this mental flexibility through kata. Combat the Old Way Kata have been a core element of martial arts training for hundreds of years. What makes them such an effective learning tool is often what’s overlooked in many modern schools today, where forms are treated like a mere curriculum requirement. However, classical kata are composed of actual self-defense techniques based on solid fighting principles. To truly improve your proficiency, you must begin to practice your forms “for real.” This means not only performing kata solo but incorporating bunkai —two-person applications practice—into your training. Some practitioners claim to practice bunkai, but they’re missing the mark if their practice involves defending against stylized attacks that don’t mirror what they might face in a real-world encounter. Similarly, they’re misled if they rely on distance and anticipation in response to these stylized attacks. True bunkai involves applying the movements from kata to real forms of aggression. Note:  To test whether you're practicing true bunkai, have your training partner attack with intensity and realism. If your response doesn’t work under these conditions, it’s probably not true bunkai. Changing Tradition When kata training is approached correctly, you begin to uncover a simple, realistic, and usable interpretation for every movement in the form. Each movement is linked to a real-world response to a likely attack, and the kata are generally taught with the assumption that the attacker is roughly the same size as the defender. But what if you’re a 5-foot-6-inch, 125-pound woman training in a dojo filled with 6-foot-tall, 200-pound men? Clearly, the standard techniques may not always be effective as taught. This is where kata training’s true value lies. The first key is understanding that kata are practical and that their practicality is fully expressed through realistic bunkai. The second key is recognizing that effective bunkai is ultimately about understanding and applying the underlying principles of a technique. In other words, mastering one kata move gives you one solid technique, but understanding the principles behind that move opens up a thousand variations. So, how can kata be taught and practiced in a way that maximizes both usefulness and conceptual understanding? The answer lies in giving yourself permission to think creatively about forms and to develop a variety of bunkai that work for you . You need to be free to experiment in the dojo. Experimenting with Kata There are many ways to experiment with kata to make it more applicable for self-defense. A simple method to get started is to change the timing and emphasis of movements. Take the downward counter (gedan-uke), for example. The typical emphasis is on the downward strike, but if you instead focus on the beginning of the movement when your hand comes up near your opposite ear, you may discover another striking action hidden within the form. In this case, your downward counter isn’t a low strike moving away from your body—it becomes a rising strike directed toward your body. Another way to experiment is by working backward: Start with bunkai you already know and apply it to a different-sized or differently-abled opponent. Pay attention to any modifications you could make to execute the technique more effectively. Once you’ve identified a useful modification, try applying it to your solo kata performance. The key is to allow yourself to think freely and creatively. Experimenting with kata becomes a form of self-expression, which leads to creative thinking and the discovery of new self-defense principles. This, in turn, helps you develop the skills to solve tactical problems and devise effective solutions when facing stress or danger. Not Abandoning Tradition Some traditional practitioners may resist the idea of modifying kata, fearing that it implies abandoning the "orthodox" form, which is central to many martial arts philosophies. However, modifying a kata doesn't mean you’re discarding tradition. In fact, it's a valuable practice to first learn the orthodox kata, then perform a personalized version of the same form. There’s also concern among some instructors that allowing students to personalize the art could create confusion. But imagine the benefits if students were taught to think critically and creatively on their own, rather than simply parroting the teacher’s movements. They would gain much more from each class, especially when struggling to make a technique work. Instead of following rigid forms, students could modify movements to find alternative methods that suit their own abilities. This freedom to adapt could solve a number of common dojo problems. For example, students often think there's only one "right" way to perform a movement, but this can lead them to force the technique through sheer strength, sacrificing proper form. When students are encouraged to adapt techniques to their own body mechanics, they begin working independently to improve their overall martial skills. Solving Additional Dojo Problems Another common challenge in many dojos is the gender disparity—karate is often a male-dominated activity, especially among adults. Yet, if you look at kids' classes, the gender mix is much more balanced. Why do some girls quit karate as they get older? There’s no single cause, but one contributing factor is that girls aren’t taught how to adapt techniques to work for their bodies. Early on, when boys and girls are about the same size, most techniques work for everyone. However, as they grow older and the disparity in size becomes more apparent, girls may find they can no longer muscle their way through techniques against larger male partners. Unfortunately, many instructors don’t have the time to teach every student a different variation of each technique to make it work for them. This is where the freedom to experiment with kata becomes invaluable. By allowing students to modify their kata, especially in bunkai, girls (and anyone else who might face size or strength challenges) can adapt their techniques and continue to train effectively. A bonus benefit of this approach is that it also helps resolve the issue of training partners who may not always attack “helpfully,” especially when the male partners try to overpower female students. When students have been taught how to modify their kata for different circumstances, they are better prepared to adapt to unpredictable situations while still utilizing the framework of the kata. For students who embrace this approach, kata becomes a dynamic tool, something that can be manipulated and shaped to fit a wide variety of combative circumstances. These students will be better prepared to think on the spot, adapt their techniques in real-time, and improve their sparring skills by learning to think outside the box. In a self-defense situation, they’ll be less likely to freeze when a standard technique doesn’t work. The most important skill in combat is the ability to think clearly—and kata, when practiced creatively, is the perfect tool for developing that skill. April Taylor is a 31-year-old practitioner of Ryukyu kempo, a 5-foot-6-inch, 125-pound woman who trains routinely with 200-pound men. Chris Thomas is a long-time martial artist whose articles have appeared in Black Belt magazine since 1981. He’s also April’s father.

When you think of The Karate Kid  and Cobra Kai , what comes to mind? The legendary crane kick? The clash between aggressive violence and peaceful philosophies? Or maybe the “old-school” training techniques, like waxing cars? The Karate Kid  franchise has become a cultural touchstone, inspiring generations with its messages of discipline, perseverance, and self-defense. Martial arts schools worldwide saw a boost in interest after the film’s release, and when Cobra Kai  reintroduced the series in 2018, it reignited those same themes—plus some epic fight scenes. While the franchise delivers plenty of drama and flashy moves, it also draws from authentic martial arts techniques to bring its action to life.  So, what real martial arts are at play in The Karate Kid  and Cobra Kai ? The Roots of The Karate Kid : Where It All Began Before diving into Cobra Kai , it's essential to revisit the martial arts foundation of The Karate Kid  (1984). In the original film, Mr. Miyagi (Pat Morita) teaches Daniel LaRusso (Ralph Macchio) a fictionalized version of Okinawan goju-ryu karate , blending hard and soft techniques. Goju-ryu emphasizes powerful strikes, joint locks, and controlled breathing, mixing strength with fluidity. While the film stays true to goju-ryu's basics, it also incorporates creative liberties, blending elements from other martial arts. Mr. Miyagi’s unconventional teaching method—using everyday tasks like waxing cars—embodies core martial arts values like patience, balance, and focus.  Fun fact:  The founder of goju-ryu was Chōjun Miyagi. Does that name sound familiar? Martial Arts Diversity in Cobra Kai As Cobra Kai  has evolved, so has its representation of martial arts. The characters’ growth is mirrored in the diverse fighting styles introduced on-screen. While karate remains central to the story, new styles reflect different characters' philosophies and development. Johnny Lawrence’s aggressive Cobra Kai  methods directly clash with Daniel’s balanced Miyagi-Do Karate , providing a compelling exploration of varying martial arts approaches. One major style that has taken center stage is tang soo do . Tang Soo Do: From the 1940s to Cobra Kai Tang soo do , created in the 1940s, merges elements from Okinawan Karate and kung fu. Though it contributed to the creation of taekwondo  in the 1950s, it remains practiced today, particularly in the United States, to preserve traditional Korean martial arts.  In Cobra Kai , tang soo do is portrayed as a fast-paced, offensive art, with powerful kicks and strikes. But at its core, it focuses on self-defense, respect, and personal growth—principles deeply tied to what one might actually experience training with Mr. Miyagi. Martial Artists Behind the Action: Experts Who Shaped the Franchise The iconic fight scenes in The Karate Kid  and Cobra Kai  wouldn’t be what they are without the martial artists who brought their expertise to the project. From Darryl Vidal and Pat Johnson to Fumio Demura and Jackie Chan, martial arts veterans have ensured the franchise “walked the walk” when it came to martial arts. Let’s dive into two stories of those who helped the film franchise get its roots established. Pat Johnson: The Choreographer Behind the Action Pat Johnson, a martial artist with black belts in Tang Soo Do  and Shotokan Karate , shaped the fight choreography for The Karate Kid . His work on the film’s tournament scenes, particularly Daniel’s final battle with Johnny, became legendary.  Johnson also made a cameo as the referee in the All Valley Karate Tournament, cementing his connection to the franchise.  His deep martial arts knowledge helped ensure that the action was both thrilling and authentic to karate. Fumio Demura: The Martial Arts Consultant Fumio Demura , a world-renowned shito-ryu karate  master, played a pivotal role as the martial arts consultant for The Karate Kid . He worked closely with Pat Morita (Mr. Miyagi) to train him in Karate’s movements and philosophies.  Many of the film’s most memorable scenes, like the iconic "wax on, wax off" training sequence, were inspired by Demura’s real-life teachings. Demura also served as Morita’s stunt double in certain scenes, adding extra realism to the film’s fight sequences. A Legacy of Martial Arts and Cinema Pat Johnson and Fumio Demura’s contributions helped shape how karate was portrayed on screen, blending tradition with mainstream appeal. Their expertise influenced the choreography and reinforced the deeper themes of personal growth and discipline that martial arts instills. In modern times, The Karate Kid franchise continues to thrive, carrying their legacies forward while introducing a new generation of martial artists to the franchise.  Real-life black belts and world champions like Justin Ortiz, Rayna Vallandingham, and Jewelianna Ramos-Ortiz in the Cobra Kai  series help preserve the spirit of The Karate Kid , ensuring the authenticity of martial arts remains alive and relevant in today’s world. Whether you're team Cobra Kai, Miyagi-Do, or even Eagle Fang Karate, one thing is certain— The Karate Kid  will forever hold a special place in our hearts.

There are lots of mistakes to be made when learning the sword - beginning with picking one up without having had proper instruction. Here, though, I'll talk about the mistakes we see in the handling of the katana on the silver screen. I'm sure you've seen several of them. THE METALLIC ZIINNGG You hear this when a character draws or sheathes a sword. In fact, it's a sound that's added in postproduction.  The saya, or scabbard of a Japanese sword, is made of wood. Properly constructed, the blade "floats" in the scabbard, touching the wood only at the collar at the top of the hilt. If you hear a lot of noise when someone draws a sword, it indicates that the person is scraping the blade on the says. It's actually possible for such a swordsman to cut through the soft wood of the scab- bard and into the hand that's holding it. When you draw or sheathe a katana, there's usually just a faint rustle. It may not be as dramatic as a ziinngg but it is the accurate sound. BRIEFCASE GRIP Actors and models almost always hold a katana improperly. They clutch the hilt so it runs directly across their palms - much like you'd hold a briefcase handle. The correct tomato, or grip, has the hilt laid at an angle across the palm with the hand looking much as it would if it was holding a pencil. You can see how inefficient the brief- case grip (called gyakute) is by holding a wooden sword in front of you with the tip pointing straight out. Allow the sword to swing down vertically in front of your body, and you'll find that even before the tip reaches knee level, your wrist must bend to keep the weapon moving down- ward. A bent wrist means loss of power. Hold the sword in a diagonal grip across your palm (honte), and your swing will go lower easily-without "breaking" the wrist. GETTING IT BACKWARD Moviemakers seem to have a fascination with characters holding the katana back- ward, so the blade protrudes from the bottom of the fist. Zatoichi, the famous "blind swordsman," used this, and it sure looks cool. To see how useful it would be, though, you should try pounding a nail with a hammer held the same way. Swords, like hammers and other tools, are designed for specific purposes and meant to be used in specific ways. In blade battles, life and death could be determined by fractional advantages in length. Holding a sword backward reduces the weapon's effective length. If, perchance, your life ever depends on cutting with a sword, unless you're a blind 18th-century masseur, don't use a reverse grip. CHOKING UP Another common mis- take in cinematic swordsmanship is choking up too far on the hilt. Actors like to grip the katana so the top of their right hand touches the hand guard. The metal tsuba, or guard, that they're touching usually has decorative carving. In real life, it quickly would scrape the skin off the user's hand. A correct grip entails keeping at least a finger's width between the guard and the top of the hand. DRAMATIC POSING Actors - and many poorly trained martial artists seem to think Japanese swordsmanship consists largely of striking dramatic poses. The most common is clutching the katana vertically by one's head so the right elbow sticks out parallel to the ground. I call it "The Arnold" because it's constantly used in sword-and-sorcery movies like Conan the Barbarian. In real swordsmanship, this looks something like the posture of hasso. The difference between the real and the theatrical, however, is that in the former, the elbow hangs down naturally. Hasso kamae is just an adaptation of the way the sword would have been carried on a long march over one's shoulder. It's relaxed, easy to maintain. In contrast, the dramatic posture you see in movies would, if you had to maintain it for any length of time, have your shoulder aching miserably. CUTTING SWORDS Blade choreographers often make the same mistake we see in empty-hand action sequences: strike-block-strike-block. The swords- men seem intent on cutting each other's weapon in half. A maxim in dojo where real sword skills are taught is "Steel doesn't bleed." Another is "If you can block, you can strike." It's a losing strategy to respond to an attack by blocking it. Instead, make a counter that simultaneously deflects your opponent's blade. In classical kata training, wooden weapons do constantly clash. These, however, are training scenarios. The adept learns to leave a space in his attacks, one that would be dosed in real combat. Instead of clacking against his opponent's sword, he would be striking the body. This is only one of many misconceptions about kata-based training that lead to inaccurate conclusions based on a lack of knowledge as to what's really going on. REAL EXPERT Of course, movie swordsmanship has only one goal- and it isn't combative effectiveness. The purpose of sword work in films is to entertain. Real swordsmanship is not terribly exciting. Many years ago, Donn F. Draeger served as an adviser for a martial arts-related movie in Japan. The director excitedly explained that he'd found a "master" whose swordsmanship was incredible, filled with all sorts of theatrical, exaggerated moves. Draeger, who was among the most respected martial artists in the world at the time, agreed to review the master's technique. They faced off. Draeger saw an immediate weakness. He took advantage of it, moving his wooden sword fractionally. It was subtle, but in a real fight, he would have severely wounded the man. "Did you see that?" he asked. The guy replied, "See what?" Guess who was eventually hired to be the fight choreographer for the movie?

I recently read an article that was critical of randomized training as it relates to the CrossFit Games. My immediate response was: A)  I agree that the randomized CrossFit protocol does not “tunnel in” — that is, adhere to specificity to create skill mastery in a given sport. Such mastery comes only from sport- and skill-specific training. B)  It’s not surprising that the majority of CrossFit Games winners, as well as those who excel there, don’t adhere to the randomized protocol. Instead, they “gamify” their training to do better in competition. The Games are no different from any other sport in that they ask athletes to perform specific tasks, and the athletes must gear their training to those tasks or fall to competitors who have focused on those tasks. The concept behind randomization — and the reason it should appeal to martial artists — is to prepare for real-world situations rather than competition. In the real world, we have no specific task on the horizon, yet we may be called on to perform virtually any skill on any given day. We have no idea if we might have to sprint to escape a dangerous situation, draw from a steady reservoir of go-to stamina in a mass attack, or pump out an inordinate amount of power in a battle with a heavyweight. For martial artists, real life is not a game with a guaranteed task list. It’s unpredictable. It’s randomized. The article’s critique pointed out that randomized training does wonders to a point, but then a plateau is reached. Is that a bad thing for us? Not necessarily. A plateau will affect us only if our goal is to compete in, for example, powerlifting, Olympic weightlifting, marathons, or the CrossFit Games. If our goal is to make the performance of an exercise our “sport,” then randomized training is for naught once we pass the acclimatization stage. All practitioners of the combat arts — traditional martial artists, competitive grapplers, kickboxers, even operators in the military and law enforcement — have it different. As the true first responders, we need a plateau of robustness built by randomized training. What we desire to engage in after reaching that plateau is not more and more push-ups, heavier and heavier lifts, or longer and longer runs. Once we hit the plateau, we want to maintain our level and use it as a jumping-off point for our combat training. Our goal is not to be the elite doer of exercises. We see clearly that exercise, no matter how elite the performance of said exercise, is a preparatory action and no more. Exercise is a means to prepare our body and mind for the rigors of our martial art. To spend the rest of our lives getting better at our preparation is a bit of wheel spinning on par with getting better and faster at writing our ABCs or reciting the multiplication table as opposed to taking the alphabet and creating new sentences or applying mathematics to real-world needs. That said, the article was correct: To excel at any given sport, we must groove that sport, so to speak. But to prepare for chance or chaos — which is precisely what martial artists train for — we must build a randomized base. To all my combat brothers and sisters working on mastering martial arts, I say go ahead and create an admirable randomized plateau. Then, instead of dumping all those extra hours into climbing to the next plateau, spend your time polishing your martial arts skill set. In short, CrossFit is great for you, both because of the workout you get and because the short duration of the sessions leaves plenty of time for the dojo. Just don’t let the pursuit of a Hero WOD (Workout of the Day for the uninitiated) distract you from your designated grappling WOD or heavy-bag WOD.

In the world of talent, success is often contagious. If there’s anyone who’s proven this truth time and again, it’s martial arts tournament champ and action star icon Mike Chat. His career is an undeniable example of how top-tier talent not only attracts, but also nurtures more top-tier talent. His track record of guiding world-class athletes and stars speaks for itself. Whether you recognize him as Wizard from WMAC Masters  or as the legendary Blue Ranger from Power Rangers Lightspeed Rescue , Mike’s face likely graced your TV screen while you were growing up. Today, you can spot the stars he’s mentored in modern-day entertainment. From Rayna Vallandingham , now a standout on Cobra Kai , to Chris Brewster , known for his action design work in Marvel and DC films, Mike has been coaching world champions and Hollywood superstars for years. So, what’s his secret? It’s not a single answer, but rather a combination of elements that enable Mike to inspire excellence in others. We sat down with him to discuss his approach—how he's accomplished so much over the years, the key ingredients to success in any field, and the actionable steps you can take to level up, whether you're aspiring to be an action hero or a martial arts world champion. Black Belt: Can you give a little insight, a little backstory, on WMAC Masters. How did the “Wizard” come to life? Mike Chat: That's a great question…because I've haven’t been asked how it came to life. I’ve been asked how was it to play the character. The character came to life by actually collaborating with the producers. They came to me. So, first I was put forth by Pat Johnson, Larry Lam, Ho Sung Pac, Herb Perez, many of the talent that were already on season one, they pushed very hard for them to bring me on.  It was multiple conversations with the producers over the course of six to eight months, and they asked what would you want your character to be? What would you want your character to look like? And, I mean, I had people designing a character and my look and it kind of evolved over time. I had it very clear; I wanted to play like this old-school, Jet Li, kind of Wong Fei Hong character. The long braided hair and my hair was already down to [my shoulders] and growing. I wanted the whole traditional thing. Maybe, a farmer's type of outfit with the tabby boots and the crisscross stockings and, big kind of like an old school farmer or Raiden's hat. And that kind of evolved into what my character's outfit wound up being. They were super cool in allowing me to be part of the creation of the look of the character. I didn't have anything to do with the storyline, but the personality of the character...they essentially wrote it in a way that reflected my personality of, what I wanted this character to be–this self-righteous, do good, one for the people, one for doing the right thing.  And so, I wound up being the good brother versus Larry Lam’s Warlock, the bad one. That's how it came to be, which is actually really cool because…when does that happen? For an actor to, for their very first show, be consulted on what they want their character to look like, right? That happens in development. Typically as a new actor, you get hired to play the part. You don't get to develop the part unless you do that on your own. So for me, that was incredible.  More to come in an upcoming print issue!

It doesn’t matter whether you practice boxing, judo, jujitsu, karate, kendo, or tai chi. It doesn’t matter whether you choose to use a staff, a stick, or a fist. All martial arts are based on three simple rules. What distinguishes one system from another is the way those rules are implemented and the strategies that grow out of them. That’s why the best people in any martial discipline recognize the excellence of others whose arts, while seemingly different, are surprisingly similar in execution. They’ve all solved the same puzzle, each accenting different components of a single answer. When judo founder Jigoro Kano first saw Morihei Ueshiba's aikido, he reportedly said admiringly, "That is my judo." Both masters appreciated and respected the modern karate fashioned by Gichin Funakoshi. At a practical level, all martial arts deal with the same thing: surviving and then prevailing in a confrontation. The style a person chooses depends on body type, personality, and location. A student picks an art not simply because it fulfills a need but also because the school is nearby. My First Lesson in Martial Arts Unity I first learned this in the 1970s at a martial arts convention in Tennessee, where experts in Burmese bando, Chinese tai chi, and kung fu demonstrated alongside Japanese aikido, judo, karate, and kendo instructors. The proponents of each style watched their counterparts with attention and appreciation. When I asked which was best, they laughed. The best are those who survive, the masters said, and all those who demonstrated were survivors. There was no "best" among them. Over time, I came to understand the apparent diversity of practice and technique that masks what all practitioners share. One summer, I taught bo techniques to a Muay Thai fighter who also had an interest in Filipino stick fighting. We learned from each other because each was better at certain distances and in certain situations. Irrespective of technique or training style, we shared a focus on solutions to the same set of directives. Rule #1: Don’t Get Off-Balance Being off-balance is being vulnerable, and vulnerability invites danger. In every art, footwork keeps you grounded (literally) and therefore solid on your feet. It also keeps you mobile, ready for whatever comes your way. The goal of great footwork is to enable you to move so you’re balanced and so your opponent can’t easily off-balance you. Inherent in every attack and most defenses is the potential for off-balancing. Kick, and there’s the possibility of getting caught by a foot sweep or leg grab. Punch, and your weight shifts, opening you to a stumble. Back away, and your attacker may move with you in an effort to cause you to trip. This is why footwork is seldom static. Rule #2: Don’t Get Hit It seems self-evident, but it's a hard lesson to learn. Unless you’re an ironman who doesn’t mind being pummeled, staying balanced is not enough if you stand in the way of your opponent’s attack. All blocks are methods for deflecting the arm, leg, or weapon that’s careening toward your face, torso, or wrist. All footwork that ensures balance also permits you to reposition yourself in relation to the attack. When you’re skilled, you move just enough to avoid the attack while staying balanced. In most martial arts, you learn not to be afraid of being hit, to accept that training comes with some bruising. And that makes sense. It’s not that you want to be a superman who can absorb any strike—nice though that would be. It’s that fear stems from repeatedly putting yourself in situations where you’re off-balance, giving your opponent the opportunity to strike. As you learn to maintain your balance while avoiding those attacks, you lose your fear. Rule #3: Remember the Second Attack This rule can also be understood as "remember the second attacker." It’s rarely the first strike that brings you down—it might not even be the first striker. Fights are like ballet dances, full of multiple moves and often multiple movers. Defending against one attack only to be felled by a follow-up blow is defeat piled on victory. This is why zanshin —the focus of the adept who doesn’t relax after executing a single technique or its counter—is so highly regarded in traditional arts. Remaining attentive and balanced is preparation for whatever or whoever comes next. It does no good to subdue the bar brawler with a broken bottle in his hand if you ignore the friend who’s swinging a bar stool at your head. In Concert: The Three Rules Together These three rules can’t be separated—they always work together. Being aware of the next attacker or the follow-up attack is, of course, a way of not being hit (Rule #2). And not getting hit means staying balanced (Rule #1), poised in relation to the room, even though it’s littered with chairs, tables, and rugs that can steal your balance. Knowing those things are around—and potential traps to your balance and thus survival—is what zanshin  (Rule #3) is all about. Here’s where it gets more interesting. Each rule leads to a strategy, a method of application. “Don’t get hit” is great, but it doesn’t go far enough. Only the very best can dodge an attack again and again until the attacker is so exhausted that aggression ceases. Even those who are that good will seek to end the encounter as early as possible. So, not being hit is not enough. The strategy is to be safe and, at the same time, be in position to deliver a kick, strike, or throw in response to an attack. This is part of tai sabaki , the body movements that position the fighter safely and strategically in relation to the opponent. So the real idea here is not only “don’t get hit,” but also “be in a position to strike or throw while doing so.” In the same vein, staying balanced is not in itself a recipe for survival. Strategically, you have to be balanced in a place where your opponent is off-balance. By ensuring your own balance, you’re ready to take your opponent's balance. Stumbling and fighting to stay on his feet, the opponent attacks but quickly grows weak, which leaves him open to a final technique from his balanced adversary. Finally, being attentive to the follow-up attack or attacker means being in position to take advantage of whatever comes next. Moving in and to the side of a standard straight punch lets you begin off-balancing that continues if the attacker pulls his arm back for an elbow strike. If he spins with the off-balancing, readying his other hand for a strike, you enter with a throw. And if he goes down, you don’t simply stand triumphant; you continue to move so the downed body is a barrier for anyone else coming at you. In other words, it’s not over when it’s over. It’s over when the field is clear, and no new aggression is expected. Such a lack of certainty and predictability led wise martial artists to devise these three strategies to enhance your chances of success. Strategy No. 1: Learn Footwork Footwork is essential for positioning your body without losing your balance. While different martial arts may have unique movements, there are six distinct stepping patterns that all arts share. These fall into two classes: footwork that functions when you’re in close (stepping into your opponent’s center or to their side) and footwork that brings you into close proximity. The latter is especially crucial for weapons training and martial arts like karate, where you need to close the gap quickly to land a strike or evade an incoming one. In judo, for example, makikomi  is not just about executing the throw; it’s also about stepping into your partner’s balance and making it your own. Aikido has footwork patterns like irimi  and tenkan , which involve stepping around or beside your opponent to disrupt their balance while slipping a strike or initiating a throw. Boxers have perhaps the best methods for developing footwork. Skipping rope helps with timing, while the rapid shifting of the feet provides excellent control in the fight for space. In the Rocky  films, Mickey trains Balboa to chase chickens to improve his footwork—an exercise designed to teach balance and speed in relation to someone else. “Stick and move” is not just about dodging; it’s about delivering a strike from a position of safety, moving away from a counter, and into a better position to attack again. Strategy No. 2: Have a Mantra Here’s a mantra for training that maximizes strategic effectiveness: “It’s not about you.”  Martial arts are never just about the individual’s strength or skill. They are about interaction—about two people working within the same environment. That’s why many Japanese texts don’t use terms like nage  and uke  (attacker and defender); instead, they use aite , meaning "partner." Martial arts, at their core, are collaborative. This lesson was taught by Mr. Miyagi in The Karate Kid . He teaches Daniel LaRusso that it’s not about fighting his opponent, but positioning and timing in relation to the other person. When John Kreese, the Cobra Kai instructor, challenges Miyagi, he’s focused on his own strength and confidence. But Miyagi knows that positioning is everything. He turns slightly to guide Kreese’s punch into a car window, breaking his hand in the process. This shows that martial arts aren’t about power; they’re about using your environment and your opponent's actions to your advantage. Strategy No. 3: Recognize the Differences — and the Similarities What distinguishes one martial art from another? The first thing is the distance between you and your opponent. Aikido primarily focuses on throws from middle or close distance. Judo, on the other hand, focuses on close-in throws and groundwork. Karate and many styles of kung fu typically train at a middle distance, with emphasis on kicks and strikes. Tai chi works on off-balancing at close to middle distances. But this is only the starting point. Once the distance is reduced, the techniques start to overlap. The karate expert may use a judo-like foot sweep, aikido throws also involve strikes up close, and tai chi practitioners may use wrist locks similar to those in aikido. In my experience cross-training in Muay Thai, I tried to move my partner in free practice, but he told me, “Don’t try to be me; just do what you do when I do my thing.” This is a critical point: each art has its advantages depending on timing and distance, but they all require you to stay true to your art’s principles. Understanding what binds martial arts together helps us appreciate what makes each style unique. It's not about which art is superior but about how they complement each other. I've learned this through personal experience—two of the worst beatings I ever received were from tai chi instructors in Taiwan and Hong Kong, while some of my most memorable victories were as an aikido practitioner facing a ninjutsu student and a karate black belt. This doesn't mean that one martial art is better than the other; it simply means that, in those moments, my practice and strategy were more suited to the match. The practice floor is where we grow, and sometimes, losing is the best way to improve. Great schools allow this growth, while bad schools, like the Cobra Kai dojo in The Karate Kid , focus too much on strength and winning rather than practice and improvement.