Black Belt Magazine has launched the most comprehensive martial arts digital platform in history–Black Belt+. From the magazine’s rich history spanning over 60 years, the platform includes thousands of remastered instructional videos, martial arts movies, documentaries, and, of course, digital issues and articles of the iconic Black Belt Magazine. Jungo TV , a US-based media company, spearheads the technical and programming aspects of Black Belt+, building off their long-term partnership with Black Belt Magazine. The new app is available on iOS and Android mobile devices and tablets. Jungo TV CEO George Chung said, “ Black Belt Magazine is integral in the global martial arts community, which is why we at Jungo TV were proud to be the technical and programming partner in helping build and launch the biggest, most comprehensive martial arts app to date.” Leaving no stone unturned, the app will showcase videos from nearly every martial art style featured in the magazine including African, Brazilian, Burmese, Chinese, Filipino, Greek, Hawaiian, Indonesian, Japanese, Korean, Russian, Thai, as well as American Karate and MMA. Hundreds of exclusive step-by-step training videos, docuseries from the biggest martial arts legends of the past, present and future. " Black Belt Magazine needed something for its readers that celebrated the history and legends that made the name 'Black Belt' what it is, but also offered subscribers new content that is relevant to their training today” Black Belt Magazine President Michael Dillard said. “The Black Belt+ app is the perfect solution and will be the foundation moving forward,” he added. The app also includes every single digital issue of Black Belt Magazine , from the 1960s to present. When users want to take a break from training, they can choose from hundreds of martial arts movies and documentaries from icons like Bruce Lee, Chuck Norris, Cynthia Rothrock, Jean Claude Van Damme, Donnie Yen, Sammo Hong, Michael Jai White, Benny Urquidez, Carlos Machado, Royce Gracie, Bill Wallace and more. Download and subscribe to Black Belt+ now. plus.blackbeltmag.com Or find Black Belt+ on the App Store or Google Play.

Japanese weapon (jutte) has interesting past! by Don Cunningham After unifying Japan’s many feudal domains, Tokugawa Ieyasu (1542-1616) based his government in Edo, the site of present-day Tokyo. The new center of Japanese authority quickly attracted residents of all classes. In addition to laborers, craftsmen and merchants, there was a large samurai population, either retainers of the various nobles required to maintain partial residence within Edo or direct retainers of the shogun who served as bodyguards and government officials. Within the male-dominated population of the city, competition for everything was fierce. With increasing interactions between the various classes and the cramped quarters of a rapidly expanding urban environment, it is not surprising that tempers often flared and arguments erupted. Social justice during the Edo period frequently meant violence. With an armed populace, minor disagreements tended to result in blood baths. To maintain control, police officers and their non-samurai assistants developed many unique weapons and arresting techniques to use against the troublemakers, who were usually armed and frequently desperate. They included bizarre items such as a pole-arm implement with barbed hooks designed to entangle the clothes of a suspect and immobilize him by forcing him to the ground, as well as wooden ladders and short staffs employed to capture offenders unharmed. One of the unique weapons of the samurai police was the jutte. Basically an iron truncheon, it was popular because it could parry the slash of a sword and disarm an assailant without serious injury to either person. Essentially a defensive or restraining weapon about 15 to 18 inches long, the jutte required the user to get extremely close to those who were being apprehended. A single hook or fork, called a kagi, on the side near the handle allowed the jutte to be used for trapping or even breaking sword blades. The kagi could also be used to entangle the clothes or fingers of an opponent, and the main shaft was designed for jabbing and striking. Throughout history, the weapon was known by many names. During the Edo period, jutte or jitte was the more popular reference. The term consists of two kanji characters, one representing “10” and the other representing “hand,” thus suggesting that a jutte gave the user the power of 10 hands. How the jutte originated is still a mystery. One popular notion is that it evolved from a strange battlefield weapon believed to have been designed by Goro Nyudo Masamune, a renowned swordsmith who lived during the Kamakura period (1185-1333). Called a hachiwari or kabutowari (helmet splitter), the prototype was a curved and pointed metal bar with a hook near the base of the handle. Worn by the samurai as a dirk, the hachiwari was probably used as a parrying weapon — held in the left hand while the sword was grasped in the right. Many Japanese and Westerners are familiar with the exploits of Miyamoto Musashi (1584-1645). His original name was Miyamoto Masana, but he was also known in his later years as Niten. To improve his swordsmanship, Musashi traveled extensively throughout feudal Japan so he could challenge other swordsmen. The founder of the nito ryu, or fencing with two swords, he was also an accomplished artist and the author of The Book of Five Rings, an exemplary treatise on the strategy of swordsmanship. Although not as well-known as his more famous son, Miyamoto Musashi’s father was also a skilled martial artist. Miyamoto Munisai introduced a military art known as jitte tohri-ryu. This particular style, sometimes referred to as tohri-ryu kenjutsu, used several military weapons, including two swords, the spear and the jutte. Practitioners of jitte tohri-ryu were especially known for their jujiyarijutsu, or techniques that involved the use of a spear with a distinctive cross-shaped blade. By all accounts, Miyamoto Munisai was also a master of iron-truncheon skills, or jutte-jutsu. The term jutte comes from the Japanese words for “10” and “hands,” indicating that using the weapon gives a person the power of 10 hands.

Martial arts are not just about learning to defend yourself. The discipline and training involved can lead to physical, mental, and emotional benefits that can improve the quality of your life in countless ways. Whether you're training in Karate, Judo, MMA, BJJ, or JKD, or working towards a Black Belt, martial arts can help you develop skills that you'll use for the rest of your life. One of the most obvious benefits of martial arts is physical fitness. The training involved in martial arts is intense and rigorous, and it will help you build strength, improve your flexibility, and boost your endurance. This can be especially beneficial if you're looking to lose weight or improve your overall health. In addition, martial arts training can help you build coordination, balance, and agility, all of which can help you perform better in other sports and physical activities. But the benefits of martial arts go far beyond physical fitness. Martial arts training can also have a profound impact on your mental and emotional well-being. For starters, the discipline and focus required in martial arts can help you develop a more mindful and centered approach to life. This can be especially helpful if you're dealing with stress or anxiety, as the repetitive motions involved in training can help you clear your mind and find inner peace. Another way that martial arts can benefit your mental and emotional well-being is by building self-confidence. As you progress in your training, you'll learn new skills and techniques, and you'll start to see yourself as someone who is capable and competent. This can be especially empowering if you're dealing with feelings of low self-esteem or insecurity. Martial arts can also help you develop better social skills. Whether you're training with a partner or in a group class, you'll have the opportunity to interact with other people who are interested in martial arts. This can help you build meaningful relationships and develop a sense of community, which can be especially important if you're new to an area or looking to expand your social circle. One of the most unique aspects of martial arts is the fact that training can be done with a partner. When you're working with someone else, you'll need to coordinate your movements and work together to execute techniques effectively. This can help you build trust and communication skills, both of which are essential in any relationship. Additionally, having a training partner can help you stay motivated and on track with your training, as you'll be able to encourage and support each other. So whether you're just starting out in martial arts or you're a seasoned practitioner, training with a partner can be a valuable experience. Not only will you be able to support each other and work together towards your goals, but you'll also be able to learn from each other and grow as martial artists. In conclusion, martial arts offer a wide range of physical, mental, and emotional benefits that can improve the quality of your life. Whether you're training in Karate, Judo, MMA, BJJ, or JKD, or working towards a Black Belt, the discipline and focus involved in martial arts training can help you develop a more mindful and centered approach to life. And by training with a partner, you'll be able to support each other and work together towards your goals, all while developing meaningful relationships and growing as martial artists. So if you're looking for a way to improve your overall well-being, martial arts may be the perfect path for you.

1800s Japanese Martial Arts Teacher Faces Off with Masterful and Dominating Brute By Dave Lowry How can the rules of sport or competition influence a martial art? Often, in the dojo, we assume that karate’s sporting aspects are — or, at least, can be — kept separate from the traditional elements of the art. Perhaps. It’s worthwhile, however, to consider that the application of any rule has consequences, good and bad, that may not be immediately obvious. Oishi Susumu was a swordsman in southern Japan in the early 19th century. He mastered a school of swordsmanship and another school of the spear, and in 1832 he traveled to Edo, now Tokyo, where he began visiting dojo and issuing challenges. Japan at this time had largely been at peace for two centuries. The days of battlefield combat were distant, the stuff of myth. Individual combat, mostly in the form of duels, had become the most common way blood was spilled among the samurai. Instead of combat, the warrior proved himself in competitive matches, usually with wooden or bamboo weapons. At the same time, armor intended not for the battlefield but for these contests evolved rapidly. Swordsmen experimented with all sorts of protection. They also monkeyed around with substitute weapons for their matches. The wooden bokken was supplanted by various forms of shinai made of bamboo, often split and bound together or encased in a bag. This allowed for heavy contact without risk of serious injury. These tools were the predecessor of today’s kendo shinai, but they did not look much like the modern sword-substitutes, in part because they did not have a fixed length or weight. Oishi found a way to exploit these innovations. He stood nearly 6 feet tall, exceptional for a Japanese man of that era. His size gave him an advantage in reach. He accentuated this by crafting a shinai that was more than 5 feet long. (Modern kendo rules limit the length of shinai to approximately 4 feet.) Essentially, Oishi was carrying a staff into his matches. And he carried it into many of them. Contemporary accounts characterize Oishi as brash, an “in your face” kind of guy. He actually supported himself by extortion: After establishing a name for himself by winning a number of matches, he would go to a kendo dojo and threaten to challenge, defeat and publicly humiliate the teacher. To prevent his students from abandoning him should this happen, the teacher would pay off Oishi. In addition to his oversized shinai, Oishi used a face mask that was sharply creased along the centerline. It looked something like a blunt beak. The shape of the mask meant that strikes and thrusts would likely glance off. It was very difficult to make a conclusive and obvious attack against him. Oishi’s technique was not sophisticated. Using his long shinai and his long arms, almost exclusively he relied on a katate-zuki. Using his rear (left) hand, he would make a one-handed thrust, driving his shinai into the throat or the mask-covered face of an opponent. He could keep himself at a safe distance while making this devastating attack, unleashing it long before his shorter opponents, with their shorter shinai, could even get within range. Eventually, of course, Oishi found the limitations. He was depending on tricks and manipulations of equipment instead of skill. His antics came to the attention of Otani Seiichiro, a fencing teacher in Edo. Otani, a master of the Jikishinkage ryu, was known for his severe training. Even with the protection of armor and using bamboo swords, classes under Otani were rigorous and bruising, and contusions were expected. Knockouts were a daily occurrence. (To give you some idea, in the dojo of Otani’s most famous disciple Sakakibara Kenkichi, members would don their helmets and then repeatedly ram their heads, full force, into the pillars of the dojo to get accustomed to the blows that were to follow.) Unlike many other teachers, Otani did not flinch when approached by Oishi. Some accounts, in fact, tell us that Otani challenged him. Whatever the details, Oishi was beaten badly and publicly. He survived, however. The fight was with shinai, Otani’s much shorter version against Oishi’s super-sized weapon. Otani went on to create his own system of swordsmanship, which he taught and passed down to his son. It’s an interesting story and ends as we would like it — with the braggart the guy who manipulated circumstances in a way we disdain, getting his just deserts. Despite Oishi’s behavior, what should stand out is that Oishi’s exploitation of the rules and circumstances of kendo in those days is really not “unfair.” To the extent there were regulations, he met them. He just used them to his advantage. Oishi’s mentality lives on in the sporting areas of budo. Canny strategists do their best to use the rules to their advantage. And there are consequences for this. When, for instance, was the last time you saw a point scored in a karate contest with a knee or elbow strike? These strikes are legal, but they are very difficult to use, so they’re virtually never part of the karateka’s arsenal. Consequently, in many karate dojo, the moves receive little attention even though they are effective in a dangerous situation. Or consider judo. As grappling skills in other combat arts evolved rapidly, contestants in judo began to rely more and more on mat work to win. Throws, in many judo tournaments, have become almost desultory, mere openings to get into ground work. As Oishi demonstrated, wherever there are sporting contests, there will be rules. Wherever there are rules, there will be conventions. And people will exploit those, and that will change the art. Good? Bad? Who knows? But inevitably it happens. Dave Lowry has written Karate Way since 1986. For more information about his articles and books, visit blackbeltmag.com and type his name into the search box. This article was originally published in a July 2022 edition of Black Belt Magazine

Even as a child, before I studied martial arts, the subject of self-defense would often come up. Granted, it was the late 70s and early 80s, so things were a little different. (Heck, some of us were still eye-balling that book of secrets by Count Dante in the back of our comic books.) However, when people would talk about self-defense it inevitably boiled down to a litany of things in two categories: You should never do this, or you should always do that. The “this” or “that” could be some seemingly innocuous thing that had the potential to result in disastrous consequences. For example, I remember a friend of the family saying, “Never stand with your back knee locked out. Otherwise, if you are attacked and someone kicks your knee, it can bust out the back of your leg.” (gulp) Good to know, even if I was seven. I suspect the advice came from a relatively unique experience that they had or heard about, but it was just one of many “nuggets” of self-defense that was posited in my brain and has stayed there over the decades. After I was a victim of violent crime, I became quite a bit more interested in self-defense and wanted to learn how to protect myself with real knowledge beyond some anecdotal asides and odd advice. Interestingly, after I started studying, I learned rather quickly that every other style, except whatever I was studying at the moment, was “real self-defense,” at least that is what everyone said. For this reason, I would like to stay from which style is best and focus on some universal principles that apply to everyone. Self-Defense A self-defense encounter is different than a fight. I regard a self-defense situation as being a life-threatening experience that cannot be avoided. Whereas, a fight may sometimes be a preventable altercation, and as such, should be treated differently. In fact, self-defense confrontations can be very different. The experience that brought me into martial arts involved three attackers with a knife. A tough situation for anyone, regardless of what martial art they study. Add to that the nature of surprise, and speed, and you have a very arduous confrontation. I’ve heard people say that they will do this , because the attacker will do that , and I usually like to question them: how do you know that that’s what the attacker will do? While it may be tempting to teach and learn with such absolutes, they have no application in the real world. Ultimately, you don’t know what someone may do and I think it is dangerous to assume so. As a rule, I think it is important to keep self-defense training rooted in fundamentals with applications to a variety of circumstances. It is better to have one or two techniques that you can apply to hundreds of situations than a bunch of specific techniques. Keep your training real. Always Below, I’ve taken the always and never categories and included ideas that I believe are useful. (For one thing, you can stand any way you want.) Always accept the random nature of self-defense situations and don’t assume you know what will happen or when. Always train in a martial art that you are confident will supply the proper tools to survive a self-defense incident. (And what a resource you have here at Black Belt.) Always seek to have the proper mental attitude regarding self-defense. Seek a calm mind, and an even temper, and avoid situations that put you at risk. Always train with the assumption that life is not like a movie. While self-defense techniques may work great in the school, when applied in real life, they are messy, and some may not work. May not work? Yes, and so you have to train your mind to move on from plan A to plan B, C, D, etc. Never What are the don’ts? What should you never do? Here are some things that I think should be avoided. Never put faith in a weapon. Weapons can be taken from you, or for some reason be unavailable (can’t get to it) or even fail (doesn’t work on the attacker as intended). A weapon shouldn’t be the only tool you have. Train yourself. Depend on you. Never underestimate your opponent. This one is timeless and yet bears repeating. Never assume there is just one attacker. Never forget that survival means surviving. That could mean getting away as much as vanquishing your assailant. If you can get away, do that. Never stop training your mind and body. Learning a few techniques from a one-day or even a weekend course is no substitute for a deeper level of training over time. The acquired skills and intangible benefits gained from training for a long period exist beyond self-defense and are great for personal development and peace of mind. In the context of a physical attack, there are so many variables that it is impossible to list them all and prepare. That means that a much more concept-oriented approach will work best. Many martial arts are very good for self-defense, but like a gladiator in the arena, they are essentially just the weapon you choose, and ultimately you are the warrior.

Growing up in the 70s, martial arts seemed to be everywhere. Even on the small screen, there were occasional brushes with what at the time was deemed exotic. Whether it was Marcia Brady on The Brady Bunch taking Karate or Laurie Partridge taking Judo on The Partridge Family you couldn't help but notice that martial arts were becoming more popular. Without mentioning the most often talked about film of the era…yes, that one, I was hoping to throw some light on movies that I have always found interesting and often overlooked. Here are some films that you may want to check out if you have an urge for bell-bottoms, silk shirts open to the waist, and some vintage action. The Killer Elite (1975) With secret agents, Ninjas, and plenty of gunplay, The Killer Elite is an action film that satisfies fans of the genre. Released in 1975, starring James Caan, Robert Duvall, and directed by a giant of action cinema and an artist of on-screen violence, Sam Peckinpah, The Killer Elite is a neglected action film classic. Caan and Duvall work as quasi-spies for a CIA-affiliated company. Caan is betrayed by Duvall who strategically injures Caan to force him to "retire." Caan embarks on the long road of recovery and ultimately seeks revenge. Shot in and around San Francisco there is some great cinematography plus it has both Mako and Tak Kubota in supporting roles. The climactic slow-motion Ninja battle aboard a mothballed warship is definitely worth seeing. It should be noted that James Caan is a legit Karate black belt and his work with the cane in the movie is an interesting twist. Billy Jack (1971) Tom Laughlin wrote, directed, and starred in this action-packed socially conscious martial arts film that is truly unique. Oh, and he did it on a shoe-string budget. While The Killer Elite featured Ninjas and Japanese martial arts, the hero Billy Jack doles out justice via Hapkido. The character Billy Jack first appeared in the film Born Losers (1967) and then subsequently in Billy Jack (1971). There are two other films in the series: The Trial of Billy Jack (1974), and Billy Jack Goes to Washington (1977). In the cannon of martial arts films, especially of the era, I believe Billy Jack deserves more recognition as does Tom Laughlin. Check out the fight scene in the park, a classic. Budo: The Art of Killing (1979) When I first heard about the documentary Budo, I was expecting to see secretly filmed deathmatches or something akin to a grainy Bloodsport Kumite. I was pleasantly surprised to find that it was an entertaining presentation of many of the major Japanese martial arts: Judo, Karate, Sumo, Aikido, and more. The film spends a few minutes on each martial art providing some background and featuring footage of students training. I still find it fascinating to watch and I think you will too. Many of the mainstream action films of the decade had elements of Karate, Judo, and Kung Fu. The Mechanic (1972), for example, has a signature scene where star Charles Bronson takes his protégé, Jan-Michael Vincent, to his Karate class. They watch a duel as Bronson's teacher, the legendary Tak Kubota, dismantles a towering upstart. Although there is little empty hand combat in the film, the scene establishes the lethality of Bronson whether he's packing a piece or just staring menacingly while he smokes his pipe. He's calm and confident and why not? Like many 70s film icons, he knows martial arts.

The son of Black Belt Hall of Famer Bow Sim Mark, Donnie Yen has entertained millions with his martial arts. We go one-on-one with the film icon. Donnie Yen first appeared on my radar 25 years ago, when his name often graced the pages of martial arts periodicals. I learned that Donnie Yen, the son of Boston-based wushu pioneer and Black Belt Hall of Famer Bow Sim Mark, stood out from his peers because of his strong stances and aesthetic postures, which helped him dominate the competition at martial arts tournaments. In part because he longed to follow in the footsteps of Bruce Lee , Donnie Yen decided to try his hand at action films. Like Bruce Lee, he opted to return to southern China, where he found work as a stuntman in Hong Kong. Donnie Yen quickly leveled up to starring roles, commanding the screen opposite Jet Li in Once Upon a Time in China II (1992) and as hung gar kung fu master Wong Kei-Ying in Iron Monkey (1993). (The movie found U.S. distribution in 2001 thanks to Quentin Tarantino and Miramax.) With hit after hit under his belt, Donnie Yen built himself into one of Asia's most bankable actors. In 2008 he landed what would be his heaviest role to date: playing wing chun grandmaster Yip Man in Ip Man. (The Chinese family name Yip can be Romanized as Yip or Ip. In this article, I will use “Ip Man" to refer to the movie and “Yip Man" to refer to the man.) Portraying the martial artist who was Bruce Lee 's master didn't come without immense pressure and criticism, but the movie's box-office performance and the rabid following it generated online proved the naysayers wrong — and set the stage for two sequels. When the publicity tour for Ip Man 3 brought Donnie Yen and co-star Mike Tyson to Los Angeles, I got an opportunity to interview Yen and hear about the struggles, triumphs, insights and visions that make up his life. Bearing a gift from my teacher, Black Belt Hall of Fame member Dan Inosanto, I entered the room, hoping for a good conversation. What I got was a great interview with a man who's humble, hardworking and still hungry for higher achievements. *** It's an honor to finally meet you. I have a gift for you from someone you might have heard of: Dan Inosanto. Donnie Yen: Wow! Thank you so much. I've heard so much about him and followed his career for years, but I never had the opportunity to meet him in person. Please thank him for me. I spoke to him just before coming here, and he's a huge fan of yours. Not only does he love your movies, but he also had high praise, saying that Bruce Lee would've been pleased with your work had he lived to see it. Donnie Yen: That's overwhelming. Please thank sifu Inosanto for me. [He tells his wife and his manager excitedly in Cantonese that Dan Inosanto was the training partner, best friend and top student of Bruce Lee.] Get your copy of the Bruce Lee classic Tao of Jeet Kune Do: New Expanded Edition! I always wanted to study Filipino kali from him. I've been a Bruce Lee fan ever since I was a kid, and as you probably know, I did an homage to him by reprising the role of Chen Zhen (whom Lee portrayed in Fist of Fury) in a TV series and feature film. Absolutely. Your performance in Legend of the Fist is one of my favorites. Donnie Yen: It's funny … people asked me whether I knew that Bruce Lee had already done that role. The whole point of me doing those movies and playing those roles was out of respect to Bruce Lee — as a way of showing how much he inspired me in my career. I could never be Bruce Lee. Nobody can. Nor could I imitate him in a way that would do him or the role justice. But just paying tribute to him with those roles was huge for me. I've always said that if Bruce was still alive, I'd have become his most devoted student. How did that weigh on you when you were offered a chance to portray Yip Man? Donnie Yen: The pressure was huge, and it came from a variety of angles, too. Let me share a bit of background with you. The first time I got a call to play the role of Yip Man was a couple of decades ago, but that movie never got made due to problems with the film's backers. Years later, I was at a press conference in Beijing and got another call from a producer, saying that they'd spoken to grandmaster Yip's family, gotten their blessing, were going to make a movie on him and wanted to cast me in the lead. But there was already a film about Yip Man (The Grandmaster, starring Tony Leung and Zhang Ziyi) that the famous director Wong Kar-Wai was going to direct. I asked about that, but the producer said not to worry since Wong has a reputation for taking his time on projects. Even though we were going to involve the same namesake character, they would tell their story and we would tell ours. When the public got word that we were going to do Ip Man, people in the entertainment industry started drawing lines and picking sides. Critics claimed that our director Wilson Yip wasn't qualified to direct a project of that magnitude. At that time, I'd just finished police movies like SPL: Kill Zone and Flash Point, which had a ton of over-the-top action sequences and MMA-based fight choreography. Those movies and Special Identity were the first Hong Kong action movies to take MMA grappling techniques and communicate them in a cinematic language. So critics also said that I wasn't suitable for the role of grandmaster Yip or to showcase wing chun cinematically. All this even before you started shooting? Donnie Yen: Yes. I never expected there to be so many doubters, even though I knew this to be an iconic role. Preparing for a role like that must have been different, considering your extensive martial arts background. What was your foundational training in with your mother? Was it modern wushu? Donnie Yen: No, it was traditional Shaolin kung fu and then tai chi, but my tai chi is a little different. My mother's master Fu Wing-Fay had a different style, and I've added my own flavor to my tai chi. Growing up in Boston, did you get to experiment with different martial arts? Donnie Yen: When I was a kid running around Chinatown, hung gar was really big, really popular. I used to study the old Lam Sai-Wing books on hung gar with the line drawings and practice those stances and postures. But back then, I was so curious and excited to learn martial arts from any source, regardless of style. I just wanted to absorb as much as I could. I'm still that way when I see something I like. Wang Bo, formerly of Shaolin Temple, is the featured instructor in an online kung fu course from Black Belt. Titled Tree of Shaolin, it streams video lessons to your preferred digital device. Sign up here and start your journey along the 1,500-year-old Shaolin path! Did you get any formal wing chun training back then? Donnie Yen: Unfortunately, I did not. But there was one kid that knew a little bit, and we'd skip school and train in the park together, sparring and practicing techniques on each other. Back then, I was just trying to learn moves from the different styles and systems, including taekwondo — not just Chinese martial arts. You mentioned Bruce Lee as a source of inspiration. Did you watch other kung fu flicks? Donnie Yen: Oh, yeah. I was a big fan of those movies as a kid. I'd see some move that I thought was cool or some character that inspired me, and I'd try to imitate them physically or philosophically. When it came time to prep for Ip Man, I understand that you spent time with both of Yip Man's sons. Donnie Yen: I actually spent a lot of time studying Yip Man's personal story in terms of his history and background, not just studying wing chun. To get as close as I could to the source, I spent time with his sons, listening to them talk about their father, their family life and their art. I even went to Futsan (Foshan, China) to see where he lived. Were the Yip brothers your technical trainers for the movie? Donnie Yen: I actually had a bunch of different wing chun trainers to help me learn the forms and the basic drills, like the lap sau and chee sau (sticky hands) drills. The big thing they helped me with was learning the forms. I didn't have three years to devote to mastering wing chun, so I could only try to embody the mindset and philosophy. So there wasn't just one master who oversaw all your training? Donnie Yen: No. I didn't want to try to be a clone of any one sifu. I knew that I could never imitate grandmaster Yip Man perfectly. I could only do the role justice by offering my interpretation of his philosophy in movement. Actually, studying the old black-and-white films of grandmaster Yip was very valuable. If there was one source that I tried to draw on most, that was it. I also tried to get a sense of Yip Man's movement and personality from his students outside the family. I actually used social media a lot to see how the different groups interpreted wing chun. It was very interesting. It gave me a chance to see how different wing chun people expressed the system physically and strategically. From the super-traditional to the more modern and aggressive versions, I wanted to get a broader view of what direction people were taking the art. All that figured into how I moved and how I portrayed the character. Luckily, the public reacted well to it. There seem to be some signature moves in the fight scenes throughout the Ip Man franchise. Donnie Yen: You see a lot of the mun sau posture from Yip Man because it fits [him]. He was originally from a well-to-do family, scholarly, very reserved. Wing chun is also a physically conservative style. You're not going to see a lot of flash or wasted movement. So making the action exciting meant that the fight scenes had to educate the audience in a way that made those more efficient movements visually appealing. The Ultimate Guide to Martial Arts Movies of the 1970s: 500+ Films Loaded with Action, Weapons & Warriors, by Dr. Craig D. Reid. On sale now! In Ip Man 3, as in the two previous movies, there's a strong thematic element of family. There's a push-pull that's evident between Yip Man and his family in which he's pulled out of involvement in some aspects of the martial arts while being motivated to accomplish more as a martial artist because of them. Is this a bit of art imitating life with you? Donnie Yen: Absolutely! As you can see, my wife Cecilia is here in the room with us, as she's also my business partner, but I absolutely know how that goes. Luckily, my wife sees everything I go through. She understands me and what I need to do. For an actor to really nail the character, he has to live through something similar to be able to call on that kind of emotion and bring it to life for the camera. If you've never been through something, you won't have the same depth of experience to be able to share on-screen. What's smart about Wilson Yip, the director of the Ip Man movies, is that he not only understands filmmaking but he understood what kind of stages I was going through in my personal life. So he wasn't just creating another role for me to play. He made it so that I could bring something special to the character as it was written and the character would allow me to express those aspects of myself, as well. I can't tell you how precious that kind of work environment is in acting. After you did Ip Man and Ip Man 2, did the wing chun world give you any special status? Donnie Yen: Look, I come from a traditional martial arts household, so I know how it goes with status. [chuckling] I don't care about seeking status in martial arts from my films. Like if you asked me to teach you wing chun, I'm not the guy who's a wing chun master. There are many other people who've devoted their lives to learning, researching and developing wing chun. Those are the wing chun masters, not me. Silat for the Street is the title of an online course from Black Belt Hall of Famer Burton Richardson and Black Belt magazine. Now you can learn the most functional silat techniques whenever and wherever you want on your smartphone, tablet or computer. Get more info here! What's important to me is that authentic, traditional martial arts were overlooked for years in favor of making more exciting action films. But now that audiences are more educated and can recognize traditional martial arts, it's more important than ever for me to portray these arts and the personalities around them with a certain dignity that's appropriate. The fight scenes have to convey a sense of realism, as well as communicate the principles of the styles that are portrayed. When the movie does well and inspires people to do more with their lives, that's the reward for me. With the Ip Man movies, it's not about what I did for wing chun; it's about focusing on a character that inspires people. It's not about wing chun versus this style or that style anymore. Last question: I heard a rumor that you were phasing out martial arts films. What's the scoop with that? Donnie Yen: I'm human. Sometimes we say things in the heat of the moment. For me, there have been days when my body is just tired of the beating that I put it through in a high-powered, high-intensity action flick. But at the end of the day, if I sit down and watch TV or see an action sequence on the screen and think, “Oh, come on! That's it? I can do better than that!" then it stirs that competitive spirit. I'm an actor, but inside I'm also a fighter. As for kung fu movies, I don't really have as much motivation to conquer anything more, especially after doing roles from Guan Yun-Chang in The Lost Bladesman to the Ip Man franchise. But especially when it comes to contemporary fight scenes, I feel like there's a lot of knowledge about using martial arts and cinematic techniques in harmony that I still have left to show, that I still want to show. About the author: Dr. Mark Cheng is a Black Belt contributing editor and doctor of traditional Chinese medicine. In his free time, he teaches shuai chiao, tai chi and kettlebells. Photos Courtesy of Well Go USA

Martial arts teach countless techniques for dealing with an opponent. Whether grappling on the mat in BJJ, Shuai-Jiao, or Judo, or squaring off in a ring with kicks and punches in Karate, Kung Fu, or Taekwondo, the goal of martial arts is to learn the skills, practice them until they are second nature, and then use them to defend and/or defeat an opponent or adversary…or is it? How to win over fear? Attaining Martial Skills The first step toward any level of mastery requires repeating a technique or skill thousands upon thousands of times. The maxim of “10,000 times a master,” rings true here. Through endless repetitions, the student trains their muscle memory, builds up strength, trains proper bone alignment, and, eventually, acquires the speed and agility to make the technique effective. As many students and teachers know, this process is long and arduous and there is no shortcut. There is no fast track or way around putting in the work to be successful. For many, this is when it all comes apart. It is inevitable, as we are all human, that when faced with the task of what may seem like endless repetitions of material already learned, the student may begin to think that maybe this is not what they want to do. “Maybe this isn’t the art for me,” “This is boring,” and other thoughts become prevalent, “Maybe I’ll take a break.” (Quitting?) While mastering the fundamentals is not a sexy process, I can’t think of a more important step in a student’s development than perfecting basic skills. Time and again, when a practitioner is floundering, a return to the basics, the fundamentals, is the recipe for getting to the next step in development. For the student, a decision is made: either they will continue or they will quit. It is at this crossroads that a student is fighting with themselves, and either they will defeat the seductive whisper of surrender with renewed commitment, or succumb and walk away. Win over fear: Application of Skills Let’s say the student continues. So, they have an awesome roundhouse kick or armbar. Now what? Now they have to be able to use it. Everything works on a compliant partner or a partner holding pads, but that isn’t what they’re training for. This step would seem to be more about your opponent than the student or practitioner, but it isn’t. Facing an opponent brings a new level of difficulty, realism, anxiety, and sometimes some internal drama, to their practice. This is when, “It all gets real,” as they often say now. As you face your opponent, whether sparring or in competition, you must ask yourself, “Do I attack now?” Which can be followed by questioning thoughts, such as: “Can they hit me?” What if it doesn’t work?” What if he counters?” “What if I lose?” All these thoughts, and more like them, have little to do with an opponent, and more to do with fear, insecurity, and the ego. It is a grappling match with the self as it works its way through the complexities of confrontation. Knowing a slick technique is great, but if it can’t be used, then it is useless. The mind must be conditioned as well as the body. Forging the Will Arts like Kyudo (The Way of the Bow), Japanese archery, Iaido (The Art of Drawing the Sword), and even Tai Chi Quan, are disciplines that don’t directly engage with an opponent but instead focus on achieving a high level of skill in their respective arts that can only come when the student has mastered themselves. Tai Chi Quan, Kyudo, and Iaido are arts that are beautiful to behold and awe-inspiring in the discipline students learn in executing the techniques. They each have a slow, meditative, and deliberate process of training that is useful and transferable to life beyond the dojo floor. Doing something with intention requires presence, awareness, and a subtle way of being while executing the technique. Defeating distractions, self-doubt, procrastination, and all the greatest hits of human behavior that keep us in our cycles of defeatist thinking and mediocrity are necessary as we face our greatest opponent. The Greatest Opponent Success in martial arts was taught to me long ago: You get out of it, what you put into it. That is true of much in life and was one of the kernels of wisdom I gleaned on my martial arts journey. Learning to have courage and confidence to defeat a challenger or attacker may be the outward aim of martial arts, but really we are training to defeat our procrastination, limiting beliefs, aversion to difficulty, and many more negative traits that can keep us from meeting our full potential. While pushing through a particularly difficult training session, competitive match, or dealing with any number of the fated setbacks that accompany our journey through martial arts, it is important to remember that we are the greatest opponent of all, and we must win.

Fabricio Andrade via ONE Championship Martial artist and UFC color commentator Joe Rogan has been enjoying what ONE Championship is bringing to the table as of late. Over the past year, Rogan has loved what he has seen across the board. Most of all, he credits ONE Chairman and CEO Chatri Sityodtong with giving a platform for martial artists of every discipline to shine. “What I love about Chatri [Sityodtong] and what he’s doing with ONE [Championship] is they’re embracing all the aspects of martial arts. They have Muay Thai with little gloves. They have jiu-jitsu. They have real elite-level MMA. It’s great,” Rogan remarked. Among the many events and athletes he has praised, one of the standouts has been Fabricio Andrade. During an episode of The Joe Rogan Experience with Demetrious Johnson, the two talked about how skilled the Brazilian was following his destruction of John Lineker for the ONE Bantamweight MMA World Championship. Andrade will return to the global stage at ONE Fight Night 16 against Jonathan Haggerty in an attempt to become a two-sport king and grab the vacant ONE Bantamweight Kickboxing World Title. The lifelong martial artist has loved the striking arts under ONE’s banner, including the Muay Thai war between Rodtang Jitmuangnon and Superlek Kiatmoo9. He also has loved the creativity ONE has shown in creating superfights, such as Johnson’s battle with Rodtang in a mixed-rules superfight. “What a dope move of him [Johnson] to go over there and fight Rodtang. Fight Rodtang, one round of pure Muay Thai. So he has to survive for one round against one of the most frightening Muay Thai fighters of all time,” Rogan said. Rogan’s comments show how much passion he has for martial arts as a whole and not just MMA. And it is an example of how ONE Championship has facilitated the growth of Muay Thai and submission grappling on a global scale. Rogan recognizes how important that has been and appreciates where ONE has taken these sports with an even brighter future ahead. Fabricio Andrade goes for kickboxing glory at ONE Fight Night 16 . The action airs live on Friday, November 3, at 8 p.m. ET/5 p.m. PT on Prime Video. The event is free for all Amazon Prime subscribers based in the U.S. and Canada.

Clay Donahue Fontenot is one of Hollywood's most sought after and successful stuntmen and coordinators. He has doubled some of Hollywood’s biggest stars. His work includes such huge hits as Blade, Iron Man , Logan , Django Unchained and most notably the Equalizer franchise. Business Insider named Fontenot one of the most famous stunt doubles in Hollywood. But remember, we all learn from someone: "Chuck Jeffries is and has been the most influential martial artist in my life time and I look up to him the most over all others!" Here's his advice for those wanting to break into the field.

by Graciela Casillas In terms of the physical aspect of self-defense, it's essential to acknowledge the distinctive differences in a woman's approach compared to a man's. While training techniques may vary, understanding these differences is crucial. First, there's a disparity in physical strength and size between genders. Men typically possess greater muscle mass and physical power, while women often rely on agility, flexibility, and technique. Consequently, women's training should leverage these natural strengths and employ techniques that align with their physical attributes. Secondly, specific vulnerabilities women may face in self-defense situations need to be addressed. Recognizing the prevalence of gender-based violence and the potential for attackers to exploit perceived weaknesses, women's training should encompass strategies for situational awareness, assertiveness, and de-escalation. By understanding and recognizing potential threats and confidently asserting boundaries, women can enhance their ability to prevent, avoid, or respond to dangerous situations. Additionally, psychological factors unique to women's self-defense should be considered. Societal conditioning may discourage assertiveness or self-defense, leading to hesitation or self-doubt. I personally experienced this growing up in a traditional Latino family, where I had to hide my kickboxing pursuits. It took years before my mother understood and supported my passion for martial arts, realizing its importance in teaching my own daughters the benefits of self-defense. Empowering and inspiring women to overcome these barriers and to build confidence, assertiveness, and self-worth is a vital part of training. Many school owners struggle to attract and retain women in their programs. To address this, creating a safe, inclusive, and supportive training environment for women is essential. Acknowledging the potential discomfort or intimidation women may feel in male-dominated spaces is equally important. Offering women-focused self-defense classes or women-led training can foster confidence, certainty, and comfort. Shifting the focus to the practical aspects of self-defense, a clear distinction emerges between art, sport, and street self-defense. When it comes to instructing street self-defense, the primary focus should revolve around useful skills, such as striking, blocking, grappling, and situational awareness. These training sessions should prioritize the development of muscle memory and reflexes, enabling someone to respond swiftly and effectively in a real-life situation. Learning self-defense requires a strong commitment to developing the necessary skillset to survive an assault. Often, when attempting to recruit women to self-defense seminars, I encounter the comment, "I attended a seminar a few years ago." It's crucial to understand that learning self-defense requires repetition, just like any other physical skill. Attending one dance class doesn't make you a dancer, and one-time exposure to a skill isn't sufficient for proficiency. Yet, when it comes to self-defense and protecting our bodies, we often invest the least amount of time. In today's social media landscape, there are many self-defense "experts" claiming to have the best programs for modern self-defense needs. While platforms like TikTok, Instagram, and Facebook may offer useful videos, nothing replaces the experience of learning and training in a classroom under the guidance of a seasoned instructor. For those without consistent access to school-based training, self-defense seminars have many benefits. They provide concentrated and intensive learning experiences, offering valuable knowledge and skills in a shorter time frame. However, what's learned at seminars must be consistently practiced in order to develop greater proficiency. Seminars also provide opportunities for participants to engage in realistic simulations and role-playing exercises, boosting confidence and preparedness for real-life situations. Furthermore, seminars foster a sense of community and solidarity among participants. In these settings, individuals with a shared interest in self-defense come together, forming connections and support networks. This community aspect is especially empowering for women facing unique challenges in self-defense. When it comes to street self-defense, it's crucial to focus on techniques that are not only effective but also practical for real-life situations. Situational awareness is the foundation. Being mindful of one's surroundings, body language, and potential threats is essential for preventing confrontations. Maintaining a heightened sense of awareness can enable you to avoid dangerous situations, while taking necessary precautions. Effective striking techniques are another useful aspect of street self-defense. I emphasize learning to strike with precision and power, targeting vulnerable areas of an attacker's body. Techniques such as punches, kicks, knee strikes, and elbow strikes provide the means to defend yourself more effectively against physical aggression. Additionally, the importance of learning defensive maneuvers helps neutralize an attacker's advances. Techniques like blocks, parries, and evasive footwork aid in avoiding and deflecting incoming strikes, creating opportunities to counter-attack or escape from dangerous situations. Grappling techniques also play a significant role in street self-defense. Understanding basic grappling techniques such as joint locks, escapes from holds, and takedowns can be invaluable in close quarters combat situations. These techniques allow someone to control and subdue an attacker, providing an opportunity to escape or seek assistance. There are many mental preparedness and verbal de-escalation techniques, because not all confrontations require physical force. I encourage individuals to learn how to diffuse a potentially dangerous situation through effective communication and assertiveness. By employing verbal de-escalation techniques, an individual can potentially resolve conflicts without resorting to physical violence. In summary, I strongly advocate for a multifaceted approach to street self-defense. Mastering situational awareness, striking techniques, defensive maneuvers, grappling skills, and verbal de-escalation techniques has empowered me to protect myself many times in real-life scenarios. By sharpening these skills and techniques, I've not only increased my personal safety but also boosted my confidence and overall well-being when faced with potential threats on the streets.

Jared Wihongi is a full-time International Close-Quarters Combat (CQC) Instructor. His TRICOM combatives system is an integration of empty-hand combat, impact weapons, edged weapons and firearms tactics. Jared has trained in multiple traditional martial arts for 40 years, and is a senior Tuhon of Pekiti-Tirsia Kali under Grandtuhon Leo T. Gaje Jr. He is the founder and President of the Pekiti Tirsia Tactical Association. Jared worked 23 years as a Police Officer and Operator on three SWAT Teams, and was contracted as a U.S. Army Special Forces Combatives Instructor for almost two decades. These experiences heavily influenced his training programs. He has taught his TRICOM programs to police and military Special Operations personnel and civilian martial artists across North & South America, Western & Eastern Europe, East & Southeast Asia, Australasia and the Middle East. In this interview, Jared and Tony Parrish discuss military and special operations, weapons, close-quarter combat, and more. For more about Jared, visit: www.tricomtraining.com for TRICOM programs. www.pekiti.university for Kali programs. www.jaredwihongi.com for personal Bio.