By Floyd Burk Photo by Robert W. Young Discipline is a weighty part of the martial arts experience. That’s because discipline figures into so many of the features and details the arts offer. While these can vary from one system to the next, there are key components that affect every training hall. Early in my martial arts career, I looked at discipline as mostly a physical thing. For example, it might mean not getting to test for your next belt or doing push-ups in class. In other words, if you weren’t disciplined in doing what you were supposed to do, you got disciplined —corrective discipline! Over the years, I learned that discipline is much more than that. In this column, I will focus on a mix of supportive and preventative discipline and explain how they can be a godsend for helping your students and your business succeed. Discipline goes hand in hand with respect in our dojo. This is because respect promotes the ideal learning and teaching environment, which encourages people to choose to make discipline a pillar of their training. Also, discipline and respect are positive attitudinal characteristics for all people and form the bedrock of most training programs. At our dojo, we define respect as “treating others with value, regard and worthiness.” We also use the terms “self respect” and “respect for self and others.” Therefore, the definition can be expanded to “treating others — and yourself — with value, regard and worthiness.” We avoid using fear and intimidation to gain respect. Respect ought to be a healthy part of your school, too. Most dojo have a respect building system that’s tied into the class formalities. It all starts with you, the senior instructor. Respect should begin with you showing it to your students. Say to yourself, “I respect (the student’s) desire to learn.” Then show your respect to that student and all the others. Show them that you value them as important people, and they will believe that you respect them. Tell them about respect and let them know that they should respect you as their instructor and because of your rank. Remind them, too, that they should value the lessons you teach as worthy and important parts of their life. Now, let’s discuss respect in formalities. At the beginning of most dojo sessions, the class lines up with the instructor and students facing each other. Then both parties bow. Your bow to them demonstrates that you respect their desire to learn, and their bow to you indicates their respect for your standing as their instructor. At the end of class, the same thing occurs. Many dojo include an add-on. Ours does, and it goes like this: At the end of class, we line up and bow to one another. The instructor tells the students, “Good class‚” and the students proceed to thank the instructor one by one. This daily practice works wonders when it comes to building mutual respect. The way to reach one’s goals and accomplish anything worthwhile is through discipline. In our dojo, we prefer to use the term “self-discipline” when discussing the concept. Our definition of self-discipline is “overcoming the opponent within yourself who has the potential to lead you down the path of laziness and irresponsibility.” When students pay attention in class and do the techniques to the best of their ability, they’re demonstrating self-discipline — and thus defeating the “opponent within.” Unfortunately, being self-disciplined doesn’t come naturally for everyone. For many, it’s something that must be learned. The following is a method I use to help students realize how important self discipline is. I have the students gather on the mat for a chat, after which I explain what the concept means. Then I have one of them stand and assume a front stance. I tell that student to do a punch/kick combo. Next, I tell the student to do the same sequence while looking out the window and thinking about going next door for a donut. The second punch/kick combo is worse every single time. This helps every student clearly see that self-discipline leads to superior performance because it’s obvious that letting the mind wander takes a toll on technique. Because such “spacing out” comes naturally for many people, it’s crucial for you, as an instructor, to keep preaching about self-discipline. You must drive home the fact that they need to improve their skills to earn their next promotion and that those skills give them the ability to defend themselves. The underlying message is that they must try to be self-disciplined at all times when training. In a nutshell, being self-disciplined is how students become skillful at executing techniques. This leads to confidence. Confidence leads to self-esteem. Confident martial artists with self-esteem will not let someone take their lunch money. They will stand up to bullies. Confident martial artists with self esteem are on the path to success. They will achieve many goals in the dojo and in life. They will be part of your opus, and that will bring joy to your life’s work. Floyd Burk is a San Diego–based 10th-degree black belt with 50 years of experience in the arts.

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After Shaolin monks saved the Ching dynasty (aka the Manchus) in 1685 from Russian invasion, who’d have thought that by refusing payment for their bravery, the Shaolin monks paid for it with their lives. Yet from the temple burnings and monk slaughtering, another important group of martial monks arose, The Ten Tigers of Shaolin. After Tsai De-zhong and Hu De-di, two of the Five Ancestors, survived the Song Shan monastery blaze, they established a new temple at Jiu Lian Shan, where it fell on the back of monk Zhi Shan to keep the Shaolin martial arts alive. He chose his students carefully and wisely, knowing they would excel in martial arts and be responsible for keeping the arts alive into the next generation. Eight of Zhi Shan's most famous students, plus two other survivors of the Jiu Lian Shan Temple burning, collectively became known as the Ten Tigers of Shaolin. One account of the Ten Tigers of Shaolin includes female Fong Wing Chun as a Ten Tiger. Though I found no in-depth corroboration of this in the literature, because of her importance to martial arts history, part of the Shaolin plight and cinema, I’ll include her in a separate blog discussion. Perhaps those who believe one of the Ten Tigers perished at Jiu Lian Shan, maybe Wing Chun was merely a historic replacement. HONG XI-GUAN Born in Hua Xian, in Canton province, Hong had royal lineage through Prince Liang (aka Zhu Wen-zhong), 15th son of Ming Emperor Chong Zhen. After the Manchus overthrew the Ming in 1644, to avoid Ching persecution Zhu changed his name to Hong in tribute to the Ching Emperor Hong Wu. It was during the Ching reign of Emperor Kang Xi when Shaolin joined Chan Kan-nam's Heaven and Earth Association to form secret societies to rebel against the Chings and restore the Ming. Hong worked as a tea merchant until he joined Jiu Lian Shan as a non-monk disciple and quickly became Abbot Zhi Zhan's top student. Although the Chinese character for Hong is the same character used in Hong Men , Xi-guan was not a founding father of the society. There are many conflicting stories that surround the lives of Hong and his second wife Fong Wing Chun, including the development of the styles of martial arts they are known for. According to one story, after Hong escaped Jiu Lian Shan in Fujian province, he escaped Ching persecution by hiding in the Red Junks, Cantonese opera troupes in Canton that would travel to villages in the province on vessels known as Red Junks and Phoenix Junks. Shaolin refugees often sought shelter with these actors and though actors were considered low class in Ching society, the refugees taught them martial arts. During the Taiping Rebellion, actor Li Wen-mao with 20 fellow actors inflected serious damage to the Ching troops at the siege of Canton. After the rebellion failed, Ching officials banned the performance of Cantonese opera. Director Liu Chia-liang's Executioners from Shaolin (1977) is one of few movies that portray the historical links between Shaolin masters and the Red Junks. Bloody Avengers (1976) and Boxer from Shantung (1972) chronicles many events surrounding the characters involved during the Taiping Rebellion. Hong's constant flight from Ching authorities brought him back to Hua Xian where he married Liu Ying-chun who bore him one son, Hong Wen-ting. When Liu died, he married Fong Wing Chun. It is believed that Wing Chun was a white crane stylist and when she married Hong, they combined his tiger fist to produce Hong's patented tiger-crane style. At the time, martial arts training was banned by the government so after the Jiu Lian Shan burning, Hong began secretly teaching martial arts at a temple in Canton. Once the ban was lifted, he set up a school in Fa Cheng and to hide his art's connection to the Shaolin from the government he named his style Hong Chia chuen ( Hung Gar in Cantonese), Chia means family, Hong is the family name. Chang Cheh's Men from the Monastery (1974) featured Chen Kuan-tai as Hong escaping the burning Temple and vowing undying revenge. Three years later, director Liu Chia-liang intelligently cast Chen again as Hong in Executioners from Shaolin (1977), giving the audience a face that they could associate with the hero. Executioners begins where Men from the Monastery ends, with the Shaolin Temple destroyed and Hong escaping. Hong is seen hiding in the Red Junks where he eventually meets and marries street entertainer, Wing Chun (portrayed by Lily Li) who bears him a son, Wen Ting (played by Yung Wang-yu) due to their rollicking S&M (Striking & Marvelous) fight scene in the bedroom before consummating the marriage. However, it was Hong's first wife Liu that gave birth to Wen Ting. We also get to see Hong meet his wife in Hong Xi Guan and the Third Lady of Yong Chuin (1958). Executioners uses the film to describe the origin of Hong Chia kung-fu as demonstrated by Hong's ten-year training regimen in preparation for seeking revenge against Monk Bai Mei. However, in the film, Hong ignores Wing Chun's plea to teach him white crane techniques and combine it with his tiger style, so Bai Mei kills him. In real life, it is thought that during a fight with a young girl using the Phoenix Eye Fist, Hong died in 1821 at age 93. After Hong dies in Executioners , Wing Chun teaches her son Wen Ting white crane, and he quickly combines the arts of his mother and father to create the tiger-crane style associated with Hong Xi-guan. Consequently, Wen Ting can now kill Bai Mei. In Clan of the White Lotus (1980), the unofficial sequel to Executioners , Wing Chun (Lily Li) is killed at the film's beginning by Bai Mei, and Hong's son Wen Ting (now played by Gordon Liu) escapes with his wife and combines his father's tiger-crane style with his wife's embroidery style to kill a look-alike relative of Bai Mei and his Manchu henchmen. How did Bai Mei really die? One rendition tells that after the Jiu Lian Temple burning, the Five Elders were aware of Bai Mei's traitorous acts and made their way to the Er Mei mountains in Sichuan province, where upon arrival, to avoid the Manchus, they became Taoists in appearance and adopted many of the Taoist philosophies. Meanwhile, the four elders were plotting their revenge against Bai Mei. Although during the ensuing fights Bai Mei killed Miao Xian and Zhi Shan, Bai Mei lost to Feng Dao-de. Feng Dao-de and Wu Mei went their separate ways. Feng taught his martial arts skills to Doo Tin Tin, who was the emperor's personal physician. What does this story tell us? If it is true, perhaps Feng killed Bai Mei to shut him up or because he felt guilty for what happened. Or maybe Feng was carefully stalking Bai Mei's movements, seeing who he was meeting, finding out if there were any other traitors, then ultimately waiting for the right time to take revenge. And who knows, if Bai Mei avoided being killed by Shaolin avengers, maybe the doctor might make a mistake while treating an ill and/or aging Bai Mei or even the emperor. Of particular significance in the cinematic stories of Hong Xi-guan is Corey Yuen's New Legend of Shaolin (1994), which features Jet Li as Hong. Although an expert of many martial arts styles, Hong was a specialist of the Shaolin Pole Technique. New Legend is the only film that brilliantly portrays these skills. The film opens as Hong returns home to find his first wife and family wiped out by the Manchus. The only survivor is his son Hong Wen-ting. The thematic parallels with the Japanese samurai Lone Wolf and Cub film series are evident as baby Wen must decide his path in life by choosing either a toy (Hong would then send him to his mother) or a sword by which he would accompany Hong on his mission of vengeance against the Ching. Of further significance here, is the infusion for the first time in film of the character Ma Ling-er, whom Hong burns to a crisp, yet survives and returns as a deformed martial arts super villain. Ma being burned is Yuen's nod to the real Ma Ling-er who was responsible for the burning of the Song Shan Temple. On a coincidental note, some stories imply that Ma Ling-er and Bai Mei may have been the same person. It seems that when both monks made the choice to betray Shaolin, they were both being punished for breaking some kind of a meaningful lamp. Part of New Legend is also about how Hong must save five children and deliver them to Chan Kan-nam (head of the Heaven and Earth Association) at the Red Flower Pavilion because they have a secret treasure map tattooed on their backs. The kids were named Tsai De-zhong, Fang Da-hong, Ma Chao-xing, Hu De-di and Li Shi-kai, the Five Ancestors of Shaolin. In Chang's Shaolin Temple and Five Shaolin Masters , actor Wang Lung-wei plays the traitorous fighter Ma Fu-yi, and in both films is killed. In New Legend , Corey Yuen re-casts Wang twenty years later as the traitorous Ma Fu-yi.

Sho Kosugi and the Lucha Brothers What would two Mexican AEW superstars have in common with the most recognizable ninjitsu of modern times? In turns out, mutual respect and a love for martial arts culture. Sho Kosugi is a martial arts and action film icon. Born in Tokyo, Japan, Kosugi's legacy is defined by his extraordinary talent, relentless dedication, and groundbreaking contributions to the genre. Renowned for his mastery of ninjutsu, he showcased his remarkable skills in a series of influential films during the 1980s, including Enter the Ninja , Revenge of the Ninja , and Ninja III: The Domination . With his exceptional physicality and intense on-screen presence, Kosugi became synonymous with the ninja archetype, captivating audiences around the globe. Most recently, his legacy has reached even further with his new apparel brand Republic of Ninja . Republic of Ninja sprung from a collaboration with the Mexican professional wrestlers and AEW (All Elite Wrestling) superstars The Lucha Brothers as a nod to their own successful brand and storefront Republic of Lucha. The Lucha Brothers, comprised of brothers Penta El Zero M (Pentagon Jr.) and Rey Fénix, have carved a unique and thrilling path in the world of professional wrestling. Hailing from Mexico, these dynamic performers have captivated audiences worldwide with their high-flying aerial maneuvers, innovative wrestling style, and undeniable charisma. Republic of Lucha opened in March of 2021in South Pasadena, California and is the official flagship store of current ROH World Tag Team Champions. The Brothers said, “Sho Kosugi was enormously popular worldwide and in Mexico, he was an absolute icon and hero of millions, much more than most other action movie stars of the era. We were fully aware of his legacy and fan base.” In partnership with Sho Kosugi, Republic of Lucha launched "Sho Kosugi's Republic of Ninja" in May 2023, offering official apparel and products that are individually supervised and approved by Mr. Kosugi. The initial launch, consisting of 16 t-shirt designs plus hats, stickers and pins . The next phase of the Republic of Ninja project is the upcoming announcement of in-store events in Los Angeles including a full takeover with Sho Kosugi in person where fans can see his personal collection of memorabilia as well as "Ninja Movie Nights.” Above all, the project is aimed to celebrate the popularity of ninja culture that Mr. Kosugi spearheaded and revolutionized with his iconic movies.

CLICK AND GO BACK TO THE HALL OF FAME DECADES

CLICK AND GO BACK TO THE HALL OF FAME DECADES

CLICK AND GO BACK TO THE HALL OF FAME DECADES

CLICK AND GO BACK TO THE HALL OF FAME DECADES

The fifth season of the Netflix tour de force, Cobra Kai, had fans, such as myself, devouring it in one, long, delightful binge. After five seasons, the ongoing saga of the All Valley champion, Daniel LaRusso, after his formative battles in the 80s, is still one of the hottest tickets on any streaming service. With just the right amount of humor, nostalgia, and butt-kicking action, Cobra Kai’s fangs will likely be sinking deep into the ratings for the foreseeable future. While the writers and producers handle most of the show, the engineers of the epic battles between Miyagi-Do, Cobra Kai, and Eagle Fang, aren’t Daniel, Johnny, or even Sensei Kreese. The true masters of the dojos are Ken Barefield, stunt coordinator, and Don Lee, fight coordinator. Taking over the stunt duties for the Cobra Kai series in season four, Barefield and Lee had the daunting task of growing the abilities of the cast, coming up with exciting action, and keeping the integrity of the world of Cobra Kai true to The Karate Kid films and their martial arts origins. The Bridge of Sais Coming up with new and inventive action scenes is no easy task, but that is the bread and butter of the Cobra Kai stunt team, and they always deliver. In season five, the team introduced an epic sword fight between the former villain, and now Miyagi-Do ally, Chozen (Yuji Okumoto), and Daniel’s arch-nemesis, Terry Silver (Thomas Ian Griffith). The use of Katana versus Sais was one of the many new touches that the Barefield / Lee team brought to the series . Barefield tells how they created the climactic showdown. “Speaking specifically, it was Don’s idea to make the sword and Sai fight. They wanted it, initially, for it to be a sword-on-sword fight. But Don, being the master of karate that he is, he knew, he was like, no, it can’t be sword on sword. It has to be an Okinawan weapon versus a Japanese weapon. They listened to him, and they were like, ‘Yeah, it’s a brilliant idea.’ And then what you get is what he came up with, which is amazing.” Lee’s background of years of martial arts training and film industry experience came together perfectly for the inspired choice of the Sai for the bladed battle. The evolution of the idea, as Lee explained, came from using the weapon in competition, previously, as well as working with Jennifer Garner on the film Daredevil (2003), “Trained Jennifer Garner, is how I got into the business, for her first movie Daredevil. I trained her with the Sais because that’s the weapon that I used to compete with.” Lee, an Okinawan Shorin-Ryu practitioner since 1988, also competed in NASKA and NBL . “Actually, I did another interview back then for Black Belt, with Jen Garner and the Sais, because it’s just a weapon that nobody really uses, and it’s something that I grew up using and I competed with. That’s how we stuck Mary (Mouser) with the Sais as well. She loved ‘Electra’ (2005), and she liked those things, so I said why don’t we do the Sais, because it’s more of an Okinawan weapon, and if you want to be different, with a bow, then let’s go Sais. ” Cobra Kai Cast The cast of Cobra Kai has been at this for a while now. Many of the younger actors have gone from being novices to All Valley competitors in season four. With five seasons under their belts (pun absolutely intended), is there a process for the cast, and their respective characters, to mature in their martial arts training? Lee talked about the process of developing the martial skills for the show, as well as for the characters, and fighting the perpetual battle against limited time, “I think in the last few seasons, which we did in within one year, that getting to train the kids, and the adults, and just finding out where they’ve come from, where they’re growing, and where they want to take it. And finding out what in their own characters, what would they like to learn to be better at? What would Hawk like to be known for? What would Robby like to be known for? What would Miguel? What would Mary? Peyton? What’s Silver’s techniques? And get in their heads to help them portray what they want from their character. It’s not a lot of time, but the time we do get, it’s very detailed in what we do.” In developing the cast, Barefield and Lee work hard to train and teach what is appropriate for the needs of the characters, as well as the cast members portraying them. Lee gives a breakdown of the method they use, “They’re all talented. And they all have kind of like superhero powers, right? Everyone’s got their own. Some may be able to flow with water better. Some may be able to have fire better. All these different elements that people have in characters, we go to what they naturally, can physically do.” Barefield and Lee also take into account the individual actor’s strengths. Lee continues, “Like Jacob (Bertrand), I feel like, he’s got mad hops, and he’s a climber, so he’s got a really strong grip. So, we utilize the things that he naturally has and just heighten those things to portray. Robby, Tanner (Buchanan): super flexible, has a dancer background. So, you can give him so many different types of beats, and that’s why a lot of the movements he has are so, you know, beautifully displayed. He’s like a mini Jean-Claude Van Damme.” Double Cobras The stunt team is always working against the clock, and often has little time to create, teach, and then film the elaborate fight choreography. However, the demands of making a show like Cobra Kai a consistent ratings winner, depend on the cool heads of Barefield and Lee collaborating to create great action, as well as their ability to work miracles, regularly. While the job of Barefield and Lee is to compose a brutal ballet of kicks and punches that the producers and writers need in order to move the story along, as Barefield points out, the process is more of a partnership. “It is a nice, like marriage, between the two, of what they want, and what we want. And they trust us, just as much as we trust them, to kind of give them exactly what they’re looking for. It’s a collaboration on all fronts.” Not everything is on the written page though. Although the script dictates what fight goes where, and Barefield mentioned that the producers and writers may be specific about the needs of the scene or story, much of the action that viewers see on screen was left up to Barefield and Lee. “When I say they are specific, there are specific things they want, but other than that, they just kind of say, ‘And a fight ensues,’ and then we take it from there,” Barefield said . How does the creative process work to make memorable action sequences for the show? Barefield provided an example, “ Like the Robby and Miguel fight in season five, right? It’s not detailed out of like them jumping off the wall, and kicking each other, and going through the door. That’s like Don and the guys playing with ideas and coming up with the actual choreo (choreography). What I brag about, especially with Don, he’s very good at going back, not just in previous seasons of what we’ve done on ‘Cobra Kai,’ but previous movies of ‘Karate Kid, right?” Barefield explained one of the links between the films and series, “In season five, when Ralph (Macchio) punches the wall, and he has blood, he took that from the movie. So, he just like has little sprinkles, and he goes:‘That’s where we’re going to put that in the fight,’ and they just like blend together so well.” (Read more with Ken Barefield and Don Lee in Part 2)

How Willie ‘The Bam’ Johnson used Martial Arts to beat the odds and escape the broken streets of Mid-East America to become a modern day Kung Fu Renaissance Man. It was author and motivation speaker Napoleon Hill who first coined the term Positive Mental Attitude (PMA), but if you were to look up that term in the dictionary, you would probably see a picture of Willie "The Bam" Johnson staring back at you. "The Bam" has been promoting PMA in MMA, for over 37 years. In that time, "The Bam`s" multi-faceted training programmes and workshops have successfully guided thousands of children, teenagers and adults away from the negative influences that are sadly still rife in current day mid-east America. Johnson turned is own life around in the mid-1980's by abandoning the gangland crime culture and delinquency that plagued his home city of Baltimore Maryland USA, to become one of the first African Americans to own a martial arts school in the Maryland area and subsequently going on to appear on the cover of Kung-fu Karate Illustrated and Blackbelt magazine, as well as starring in movies, and as a main character in the cult television programme WMAC Masters, hosted by Shannon Lee, the daughter of Johnson`s idol – Bruce Lee. Elements of Johnson's life story have now been adapted into an award winning movie, 1 Out Of 100 ( 2022). The movie has been described by Blackbelt Magazine as a coming of age martial arts movie for the youth of America. The title is taken from the statistic of how many students go on to succeed in the world of martial arts, with 99 percent choosing to give up training before obtaining certification. It is a statistic that Johnson wants to remedy through his teachings, scholarship programme and via the medium of film-making. Following the success of Johnson's documentary ( The Bam: The Willie Johnson Story 2021), he once again teamed up with his collaborator, writer/ director Robert Parham ( Ron Van Clief`s The Hanged Man 2020, Snowblack 2021 ) who returns to take on directorial duties, with Johnson himself starring as the main character and crafting the script alongside co-writer Stephen Wilkes. The film is indeed a family affair, with "The Bam" starring alongside his two children Marshieh and Zarion Johnson, with his wife Kimber Johnson (Kimber is an inspirational person in her own-right and whose life story is worthy of it's own movie),serving as the film's producer. The film centres around an ex-criminal ( Willie "The Bam" Johnson who has been paroled and now works at a local martial arts dojo and oversees a young student ( Marshieh Johnson) who strives to balance family life supporting his mother and younger brother, whilst acting as a role model for younger children and preparing for a local martial arts competition which could lead to a brighter existence for himself and his family- all themes that "The Bam" has had to deal with in his own life off-screen. Johnson's love for his family has always been pivotal to his mindset and was the catalyst for him moving away from the gang culture that funded the perpetual spiral of self abuse from drugs and alcohol which he was using as an emotional panacea to deal with his childhood traumas, living in a broken home and the grief of losing his mother. By his own admission there were no local role models in Baltimore, Maryland that he could identify with and at times was almost ashamed to be a person of color. It wasn't until he saw Bruce Lee in The Chinese Connection (Internationally Known as Fist Of Fury- 1971) , that he could identify with a believable role model. Building on his childhood obsession with the little dragon, Martial Arts Gymnastics , many self taught styles, along with his love of kung-fu cinema and blaxploitation movies, Johnson sort the tutelage of renowned Martial Artist Dennis Brown in the neighbouring state of Washington D.C., often taking the interstate bus to get to his lessons, even when he didn't have enough money to pay for the bus fare. Through hard work and diligence, Johnson quickly progressed up the ranks, gaining a 7th degree black belt in Karate/ Kang Du Kwon, 5th degree blackbelt in Shaolin Wu Shu kung fu and 1st degree black belt in Karate / Death Ke Do. His hunger for perfection saw him successfully become 7 times U.M.A.C world Champion, 2-time All American Champion, leading him to be one of the first African Americans to visit the Shaolin Temple in China the home of eastern martial arts. Johnson was inspired by the philosophical aspects of martial arts encountered in China, and brought back a new outlook on life and applied it to his own street style of martial arts. But at the same time , Johnson was still embroiled in the gang lifestyle of his childhood. It was not until his Mother's passing that "The Bam" took stock of his life and after a stint in rehabilitation, moved away from the negative influences of the gang and drug culture that was fueling his path of self-destruction. Applying the customer service skills he gained during his delinquent "Street Entreprepernuership", Johnson re-branded himself "The Bam" ( Incorporating his family nickname, and adjusting it to incorporate his new mindset – There is only ONE "The Bam"), and set about teaching martial arts in Baltimore and surrounding areas. Within a year he was successfully able to buy his own school outright. Something unheard of for a young African American in Baltimore. Success soon brought media attention and he was the first African American to appear on the cover of several martial arts magazines, and also become a regular publication contributor ,sharing his knowledge of the martial arts throughout the nation. Johnson's next goal was to get into the world of martial arts action movies ,to try to emulated the success of his kung Fu movie idols who inspired him growing up ,and create a positive role model for the ‘Ninja Turtles’ and ‘Power Ranger’‘generation. With the encouragement of his friend , Martial Arts film actress Cynthia Rothrock, "The Bam " landed an uncredited role in Godfrey Ho's cult movie Undefeatable (1993) ,and then went on to star as a version of himself in the international hit tv series WMAC Masters ( 1995-1996), the Bloodsport -Karate Kid influenced Superfights (1996/7) and his own self produced urban action drama, Deadly Game Of Death (2005). Twenty years a head of it's time, there is a strong argument that Deadly Game Of Death (2005) can be categorised as the direct progenitor of the current wave of urban action martial arts movies where a disaffected youth is saved from the peer pressure of gang lifestyle by the teachings of eastern martial arts philosophies, such as the award winning Twisting Tiger 2021 and also serving as blue-print for Johnson's own movie,1 Out of 100 (2022). His acting work has led to "The Bam" meeting and working with several of his martial arts heroes such a Chuck Norris ,Don ‘The Dragon’ Wilson, Billy Blanks ,Ron Van Clief and Carl Scott. Also a frequent attendee and patron of the Urban Action Showcase (UASE) film festival, in New York, Johnson actively encourages new talent to progress in the world of martial arts movies, and has passed on his years of knowledge and experience to several rising stars of the industry. In recent years, "The Bam" has devised a workshop programme in conjunction with the UASE, ‘Call 2 Action ’ -which is specifically designed for those who have a passion to make it in the world of martial arts action cinema, to become the next Bruce Lee, Donnie Yen or Cynthia Rothrock, but have no formal training or connections to get into the film industry. If that is not enough, other than his Martial Arts teaching, instructional videos, film work, and motivational speaking,"The Bam" is also a rapper , DJ and figure head in the local Baltimore Maryland community. Combining a fusion of all his interests, Johnson strives to motivate all those who wish to better themselves no matter and has become the very role model to the youth of Baltimore, that was absent in his own life growing up. Johnson has also created the non-profit The Urban Spirit Foundation, with the aim to provide educational scholarships to under-privileged children nationwide, and in true "The Bam" style, has set a goal of granting 1 million scholarships to children who need extra curriculum financial support. The many struggles that "The Bam" and his family have encountered over the years, their strong faith and temerity have proven inspirational and that they embody the fighting spirit whilst remaining humble. 1 Out Of 100 (2022) is the product of it's own ethics, filmed at the tail end of the covid-19 restrictions , on a meagre budget of $2,500 US, and with a limited distribution, and has succeeded against the odds to make it to break into streaming platforms for international audiences to view. It is hoped that the film reaches it's target audience, and that viewers take inspiration from the movie's valuable life lessons and apply "The Bam" mindset to better their own life. Proving, that there are many roads through the journey of life, and its never too early, or too late to change the direction your life is heading , becoming successful through hard work, and determination. 1 Out Of 100 (2022) premieres in late 2022 /early 2023. More information on the film can be found at https://www.williethebamjohnson.com Visit for up-to-date information on how to participate in the 1 million scholarship drive visit https://urbanspiritfoundation.org http://www.youthpeaceaction.org

The Philosophy of Power Consistency The fights in Cobra Kai help to tell the story as much as the dialogue and the other cinematic elements, and they are just as thoughtfully designed. Whether introducing new concepts, such as the MMA element in season five, or character skills and abilities to be expanded upon later, it is all part of a grander scheme from the team of Barefield and Lee. “The good thing about, like what me and Don do, is we don’t just throw a punch, just to throw a punch, just to throw it. We tell stories behind what we’re doing,” Barefield said. In telling the stories of Cobra Kai , a certain amount of believability in the action is a necessity for the team. Lee described their philosophy of keeping things from going too far, “How many times have you seen somebody all the sudden go from basic martial arts to all the sudden doing ‘The Matrix,’ floating in the air? Like how does that even happen? It makes zero sense, and actually, to me, it really upsets me and Ken, you know? Because it comes to the point where it’s like you’re kind of dumbing down the audience. It’s like, you just expect us to believe that? There’s no payoff in that. I didn’t see that character earn that. How did that character all of the sudden get there? And that’s one thing we really like to do is keep the power consistency of the show level, and keep it fair.” The passion Barefield and Lee have for making Cobra Kai the best show they can is best expressed in their attention to those minute details that viewers, especially non-martial artists, may not even notice, and that is why they do them. For the 1% The series, bridging the chasm between the decades of The Karate Kid films, has become the popular culture repository for martial arts. For both Barefield and Lee, the show is not just another gig, but a mantle of responsibility that they take seriously, and they treasure their roles in the process as new generations discover the series and the films. “It’s just a real cool, unique experience, that there are people who experienced ‘Karate Kid,’ and now are experiencing ‘Cobra Kai,’” Barefied said . “But then just the opposite, there are these kids that are watching ‘Cobra Kai,’ and then they’re like, ‘Well, I want to watch ‘Karate Kid.’ Then they go back and re-fall back in love with it, the way that we did, when we watched it. So that’s why the fanbase is so big, because, you know, you got the 15 year olds, and you got the 55 years olds. That’s just like…everyone’s on board with it. So that’s why me and Don want to make sure that when we do something, we pay tribute, and we hold that, like what the soul of this whole thing is, which is Miyagi, right? That’s like the soul of this whole thing. And we make sure that we protect that, like, very adamantly.” The commitment of Lee and Barefield may not be immediately understood by the uninitiated, or even those working on the show, but as Barefield explains, they are not trying to slip something past the viewers, or get away with something less than legitimate, “That’s why like camera guys and directors that come in, and they're looking at us like, these stunt guys are crazy. It’s like, no, we’re not crazy, we’re just protecting what we’re shooting. We’re not just gonna phone it in. Like, no, redo this. Do it again. Do it again. Don will run in there, they’ll be talking. No, no, hold on. Give him a second. Because we’ll tweak it, and get it just right. And it’s not for the 99%. It’s for the 1%. Lee provided more details about how things work on set, “We feel like we have a responsibility to our actors, and to real martial artists that are out there, because, with that being said, we know that people will pick it apart. And the last thing that I want to do, or Ken wants them to do, is to go ahead and make a meme of one of our actors for holding something wrong, or having their thumbs out on a bo when it should be in. So, it’s those little things. I see a finger there, I go, ‘Ken I saw it.’ He goes, ‘Go fix it.’ Cool, I’ll go fix it. That’s where Ken is saying the crazy part comes out, where the director’s like, ‘I didn’t even see what they are fixing. What are they fixing?’ And don’t worry about it. We got it. That’s usually what we tell them.” Returning Fangs With the incredibly enthusiastic reception of season five by the fans, the mission of Barefield and Lee resonates even deeper. For them, it is more than just trying to make some flashy fight scenes, but instead comes from a personal dedication to something bigger. Lee put it succinctly, “Cobra Kai, let’s make karate cool again. So many people talk about MMA, it’s forgotten the martial art way. And it’s cool to see a lot of kids, that even when I go to tournaments or whatever, that people understand, and you as a martial artist, as well, understand this. Our fans at Black Belt understand that, that it’s the martial way. And it’s cool for people to understand the philosophy of martial arts instead of just wanting to train to either ‘A’ to defend themselves to defend themselves, or just train to be, you know, fighting machines. And there’s no wrong way in either one of those things, but it is really nice and appreciate that the martial way…that there’s light being shed on that right now.” As a fan of the show, and the films, and as a martial artist, I appreciate the work and dedication that both Ken Barefield and Don Lee have put into Cobra Kai . And it’s important to note that their work is not just for themselves, as Lee points out, “First and foremost, the Cobra Kai fans are the best. They love it. That’s why we love it, is because we are fans of the show as well.” Barefield agreed wholeheartedly with an enthusiastic, “YES!” Lee continued, “This is my favorite show. And so it’s a dream come true because I’m a fan as well.” There is no doubt about the commitment of Barefield and Lee to the continued success of the series. Will there be a season six of Cobra Kai? If there is, for Barefield, one thing is certain, “When we do ‘Cobra Kai,’ me and Don will be back together, for sure.” Related articles: https://blackbeltmag.com/cobra-kai-villains https://blackbeltmag.com/cobra-kai-interview

In case you missed Part 1 of “Insights from Women in the Martial Arts,” I asked seven different women of varying ranks of black belt several questions regarding their experiences training. The practitioners interviewed range from women I have had the honor to share the mat with to ladies you will likely recognize from the big screen. As a quick reminder, here is the list of women interviewed and the questions. The practitioners: Cynthia Rothrock Michel Manu Barbara White Cheri Temple Angela Dates Cathy Burns Kirsten Blakemore The questions previously asked of our participants: Would you please tell us a little about yourself? What systems have you studied, and which would you consider your base art and why? What drew you to the Martial Arts? What was the greatest challenge you’ve faced as a woman in the Arts? The remaining questions: What is the greatest advantage you’ve had as a woman in the Arts? What would you like to tell women that already train or are thinking about starting? Is there anything you would like to tell the men with which you share the mat? What has surprised you the most during your time training? What is the number one greatest lesson you’ve learned from training in the Martial Art? Is there anything on the horizon that you’re excited about and would like to share or any final words for our readers? If you missed Part 1, I recommend checking it out. If you read it previously, let’s jump right back into what these incredible women have to say about their experiences! What is the greatest advantage you’ve had as a woman in the Arts? Cynthia Rothrock The most significant advantage I have had as a woman is that I never felt inferior to men. I’ve always viewed myself as an equal on all levels. When I began to shoot Yes, Madam!, my first movie with Michele Yeoh, the fight choreographer treated me with kid gloves until he realized how tough I was. I could do the intense choreography, do the moves, get hit hard, hit back hard, do my job, and never complain. The fact that I was a woman doing fight scenes like a man was an advantage. When working on No Retreat No Surrender in Thailand, they had me shoot a scene in a kickboxing ring in a gym where I was to fight in the ring against a man. The gym owners said, “No women can enter the ring.” The director changed the scene, so the fight occurred on the floor next to the ring. When the gym owners saw I could fight hard and hold my own, they said, “Okay, she can fight in the ring.” Even so, they did not allow me to go over the ropes like men were allowed to do. You’ll see me rolling under the ropes to enter the ring in the scene. Michelle Manu When I first became a disciple of my teacher, I would say there was absolutely nothing but disadvantage in being the only woman in the groupin over twenty years and for over twenty years. Two and a half decades later, I can tell you that I was completely wrong. Being a woman is my greatest advantage. I LOVE being a woman. I am free; free to express the soft and hard within me. There is no hard without the soft. The soft is the feminine or Hina, while the hard is the masculine or Kū. It is the wind up to the pitch in baseball, the knee bend of a hockey player for a push off, the arms bent for the release of the basketball, and the path to the contact of a punch. In ancient Hawaiian, there was no differential. All was and is one energy on a spectrum of expression. But today, it is helpful for us to learn vocabulary for visualization and to help us understand what expression of energy we wish to become. This classification of duality provides for deeper understanding. We think that martial arts is just Kū, but it clearly is not. These energies also play out in our world, how we communicate with one another. My greatest advantage as a woman today, besides being free to fully evolve, is to work with women that are uncomfortable with learning martial arts or self-defense from a man. Most women have experiences where the unhealthy masculine energy has harmed them. Because I have experienced this, too, it helps me to understand where they are and how I can support and instruct them more effectively for real change, healing, and for self-protection and not memorization of martial choreography. Barbara White As a woman in the MA, the greatest advantage I feel I had during my early years of training were the relationships I developed with fellow martial artists, both women, and men. Finding a martial arts “home” gave me a feeling of belonging and welcome support. A second “advantage” we have is one that we often consider a disadvantage to us: the cultural bias that views women as frail, vulnerable, or incapable. When it comes to self-defense, a predator will assume a woman won’t fight back. After all, she’s “afraid, incapable, and compliant.” However, what this woman has to her advantage is the element of surprise when she elicits a blood-curdling scream and places a well-aimed strike where it counts. This, coupled with the decision to fight back and mindset and attitude of “Not me, not today,” empowers women to take control over their own safety and put to rest the notion that women are incapable of defending themselves. Cheri Temple Outside of the personal benefits of confidence, self-awareness, and camaraderie, I don’t believe there’s an advantage as a woman in the Arts. My personal belief is that anyone on the mat should train as a martial artist – not a female or a male. Angela Dates I guess an advantage as a women would be training with someone stronger and experienced in a safe environment. Yes, getting bumps and bruises including a broken nose, but learning how to take a punch from someone and the satisfaction of being able to hold my own. Cathy Burns Flexibility and the ability to learn complex movements. Kirsten Blakemore I think my advantage is that if I were ever in a situation where I was going to be attacked, I would have the element of surprise on my side. What would you like to tell women that already train or are thinking about starting? Cynthia Rothrock I would tell all women to get involved in martial arts. Learning how to defend yourself is a priceless skill all women can benefit from. Train to your best ability, and don’t give up when it gets tough. Your journey will eventually get easier, your mindset will be transformed, and your confidence will become unshakable. Michelle Manu For those starting martial arts, choose a school and commit yourself for three months. If it still doesn’t feel right, change teachers, change school, or change the art you are studying until you find your place. To leave martial arts before you have found your home would be to rob yourself of the opportunity for tremendous personal growth that can only really happen in the study of martial arts. The warrior that has been sleeping awakens when we are challenged. It is in these very moments where we become more ourselves than we could have ever imagined. We are never the same. For those who already train - stick with it but keep accessing yourself and your environment. Again, if you feel you aren’t being fed the right food or enough food, move to another teacher, school, or art. You will progress as you continue to train. It is your responsibility to hold yourself accountable and to make sure you are getting what you need. I would also say that it is imperative that we get our feminine - our lines or path of power - down and to go from start to (or through) the target. There is a huge difference in learning our power, and direction of our power, from martial forms to the actual conversion of our power into combat. Barbara White First, I would like to welcome all those who have just started and encourage those who are considering it. Secondly, I feel that there are unique challenges women face in training, especially if you have a family to care for. A big asset you have right now, besides your decision to be in MA, is other martial artists that you form friendships with. Find a friend to train with and encourage and support one another. Cheri Temple If you are already training – continue! If you have not – start! If the first place you try doesn’t fit, don’t be discouraged, try another. I once trained with a young lady that, as a white belt, if she was hit in the face, she would crumple into a ball and cry, but she pushed through and continued to train. By the time she received her purple belt, if she was hit in the face during sparring, her eyes would water, but her posture never changed, her focus never changed, and she never dropped her guard. That, to me, is such a beautiful story of personal growth and continuing to challenge yourself to evolve and overcome. That is strength. Angela Dates Do it!!! It has been quite the journey. Even though there were challenges, I would not change a thing. It has given me the confidence to stand before all levels of students, men or women and share Kenpo with them. 20 years ago, if you asked me would I be teaching karate, I would have said no way. I love the confidence it has given me. Cathy Burns Martial Arts is a journey of self-empowerment and self-realization. Martial Arts will improve your confidence in all areas of your life. Kirsten Blakemore If you have ever been in a position in which you were compromised, this is an empowering way to rebuild your confidence. It’s a great exercise to add to any regimen. Lastly, you have to be fully present on the mat, or you could get hurt (if you are not paying attention). Therefore, it’s a way to shut off the brain from the normal stressors of your world for an hour or so while you train. It is therapeutic. Is there anything you would like to tell the men with which you share the mat? Cynthia Rothrock When sharing a mat or training with men, gender doesn’t matter. I’m from the old-school mindset where we all are there to learn and share the same blood, sweat, and tears on that mat. We are there to become better people, better martial artists, and we’re all there to support everyone in this common goal and passion. Michelle Manu In the past, at workshops, I would lose respect for a training partner if he ‘goes easy’ after we get to know each other’s energy and whatever given technique. I also took it as a direct challenge if he came barreling off the line without exchanging a bit to get to know one another. In my sequestered training, this was our internal culture, and that challenge was immediately accepted and returned with extra. Let’s be honest. Working with strangers is dangerous, not to mention strangers who lack self-control or have other intentions. I’ve been here. I refuse to let anyone injure me, and it is my job to not give anyone an opportunity to do so. Awareness and defense (with a tail of offense)! In regular class, my Lua brothers knew to bring it because I was going to bring it to them. We need to ask ourselves what type of training partner we are to whoever is standing in front of us. Are we being helpful to that person, woman or man, that has chosen to work out with us? How can we be better training partners? If you were teaching a beloved female relative who experienced a sexual assault and wanted to learn how to defend herself, would you play pattycake, or would you apply some force in the attack and in the holds to make sure she can break/redirect the hold, counter, and escape? This should be the same mentality when you are working with any woman. Help her as if she is your loved one! When I train, the man’s body before me is to serve only one purpose - my advancement. That man has donated his body to me so that I may master and manipulate his force, weight, and height. This is the best gift any man has ever given me.Barbara White I think that we are moving slowly forward in recognizing women as leaders, and I’m seeing more women listed as teachers at seminars. However, there are things I feel need to be addressed. When I hear a man say something like, “You cry like a little girl,” or refers to women as “girls.” Or “You hit like a girl,” you are telling a message to anyone within earshot that girls are not as good as boys. These seemingly “innocent” words are harmful to both boys and girls and carry a heavy sentence to have to carry around. One time I was in an interview, and a well-known MA asked the question, “How do you teach women to hit like men?” In martial arts, we learn to protect ourselves and others. Protect women by building them up and believing in them. Address women as fellow martial artists, not as “female” martial artists. Teach your daughters they can achieve whatever they set their minds on. Teach your female students to hit like women, to hit hard. In doing so, you will send them an empowering message that they are capable. Michelle Manu In the past, at workshops, I would lose respect for a training partner if he ‘goes easy’ after we get to know each other’s energy and whatever given technique. I also took it as a direct challenge if he came barreling off the line without exchanging a bit to get to know one another. In my sequestered training, this was our internal culture, and that challenge was immediately accepted and returned with extra. Let’s be honest. Working with strangers is dangerous, not to mention strangers who lack self-control or have other intentions. I’ve been here. I refuse to let anyone injure me, and it is my job to not give anyone an opportunity to do so. Awareness and defense (with a tail of offense)! In regular class, my Lua brothers knew to bring it because I was going to bring it to them. We need to ask ourselves what type of training partner we are to whoever is standing in front of us. Are we being helpful to that person, woman or man, that has chosen to work out with us? How can we be better training partners? If you were teaching a beloved female relative who experienced a sexual assault and wanted to learn how to defend herself, would you play pattycake, or would you apply some force in the attack and in the holds to make sure she can break/redirect the hold, counter, and escape? This should be the same mentality when you are working with any woman. Help her as if she is your loved one! When I train, the man’s body before me is to serve only one purpose - my advancement. That man has donated his body to me so that I may master and manipulate his force, weight, and height. This is the best gift any man has ever given me. Barbara White I think that we are moving slowly forward in recognizing women as leaders, and I’m seeing more women listed as teachers at seminars. However, there are things I feel need to be addressed. When I hear a man say something like, “You cry like a little girl,” or refers to women as “girls.” Or “You hit like a girl,” you are telling a message to anyone within earshot that girls are not as good as boys. These seemingly “innocent” words are harmful to both boys and girls and carry a heavy sentence to have to carry around. One time I was in an interview, and a well-known MA asked the question, “How do you teach women to hit like men?” In martial arts, we learn to protect ourselves and others. Protect women by building them up and believing in them. Address women as fellow martial artists, not as “female” martial artists. Teach your daughters they can achieve whatever they set their minds on. Teach your female students to hit like women, to hit hard. In doing so, you will send them an empowering message that they are capable. Cheri Temple Yes! It’s technique – not strength. Most men are naturally strong and in lower ranks can tend to resort to strength over common sense. I have had the opportunity to work with many women on the mat during a break-out by rank teaching session, and sometimes the technique would never work for them because it was taught from strength and not the foundational technique. There was one of our teen Brown Belts that was taking privates, and during our time, she stated she had no idea why she was doing what she was doing. We started breaking techniques down, explaining what she was looking to accomplish with each move, and by the time she rejoined the Junior Brown Belt class as the only female, the guys were shuffling positions and saying, “No, you line up behind her.” She found strength and confidence in her understanding of the techniques. Angela Dates For my male teachers, thank you for the hard knocks and lessons that I have learned from you. It has made me stronger and more confident. To the men I share the mat with, let’s keep the training going and I look forward to many more technique lines! Cathy Burns I’m grateful to all the men who encouraged me through my journey. Kirsten Blakemore I appreciate the men who train with me! They provide me with the ability to see if what I am learning works on a man and not just the air. What has surprised you the most during your time training? Cynthia Rothrock I guess the inequality of gender in martial arts has surprised me the most. I recall a martial art teacher who would not give women black belt rank tests. He felt a woman could never be good enough to be a black belt. I’m sure times have changed, but there is still an undertone of this inequality in martial arts. One time, a man at a karate competition was surprised to see me, a woman, on the cover of Karate Illustrated. Heasked me if I slept with the editor of Karate Illustrated to get on the cover. I looked him in the eye, smiled, and said, “No, why? Is that how you got on the cover?” I’ve achieved so many firsts in martial arts, and it’s been a fun and challenging journey. I love a challenge. Michelle Manu My own resilience, dedication, the power of my choice, the intelligence and power of my amazing body, my high level of proficiency and mastery of myself, and to evolve beyond a level I never dreamed of attaining. Nothing is over until I say it is over. All of this has been the most surprising part of my journey so far. Barbara White I believe that the longer a person lives, the less surprises they have in life. At least, this is the case with me. My answer is embedded within the years spent in the martial arts, most notably, the past twenty years my husband and I have shared together. Throughout the past twenty years, we have experienced a life of astonishing and unexpected acts of kindness and goodwill by the Kenpo Karate community around the world. These acts of kindness pertain to the battles with cancer Bob has had and the passion with which the MA community has embraced the charity we support, The Royal Family Kids. These acts of kindness continue to astonish us, leaving us grateful. Barbara White I believe that the longer a person lives, the less surprises they have in life. At least, this is the case with me. My answer is embedded within the years spent in the martial arts, most notably, the past twenty years my husband and I have shared together. Throughout the past twenty years, we have experienced a life of astonishing and unexpected acts of kindness and goodwill by the Kenpo Karate community around the world. These acts of kindness pertain to the battles with cancer Bob has had and the passion with which the MA community has embraced the charity we support, The Royal Family Kids. These acts of kindness continue to astonish us, leaving us grateful. Cheri Temple The realization that you never know who you’re looking at. I once realized that a couple of my instructors in regular clothes may look like an elderly victim to some. I realized that an attacker would be unpleasantly surprised should they make an act upon that assumption. I came into the dojo with tunnel vision. I just wanted to learn. I soon realized there are so many different life stories on the mat, and that we all learn from each other and make each other better. Angela Dates That I made it to my 5th degree black belt. How I actually overcame my lack of self-confidence. That now I actually love attending the advance classes and can’t wait for the technique lines. And that there is so much more to keep learning and understanding. I also learned I like teaching and sharing my experiences with students as they come up the ranks. I feel so proud that I can be a part of their journey in Kenpo. Cathy Burns How much I enjoyed the process. Training, friendships, learning, and growing as a person. Also, the teaching aspect. I really enjoy teaching young kids. Focusing on self-control and self-discipline. Kirsten Blakemore Probably the bonds that are formed with the people I train with. I am forever grateful to them for their willingness to be hit, thrown down, kicked, and practiced on, as well as their teaching. What is the number one greatest lesson you’ve learned from training in the Martial Art? Cynthia Rothrock I've learned many life lessons from my martial arts training. The greatest lesson I’ve taken away is never to accept failure. Never give up! With determination and a positive mindset, you can overcome ALL obstacles. Michelle Manu I’ve been in martial arts so long that I cannot think of my number one greatest lesson. This may be because Lua and life are one in the same for me. It doesn’t turn off when I walk out of the pā lua. There is no separation. If I had to pick one, the greatest lesson from training in martial arts is that I can and will survive anything that presents itself. Nothing phases me because of my training. My warrior spirit is immovable, invincible, and bulletproof.Cheri Temple . Barbara White Not to set limitations on myself. Self-conceived limitations are one of the primary reasons (in my opinion) of why people fall short of their goals. Had I limited myself to let the things I could not do get in the way of the things I could do, I would still be a white belt. Cheri Temple To remain teachable. I want to always remain a student – to be open to learning, realizing I could never know it all, and if I did, learning would stop, and I would become stagnant. My husband, Robert Temple, who has been an exceptional teacher and practitioner for the last 50 years, shares insights with me that continue to broaden my horizons and makes me realize that there is always so much more to learn. Angela Dates It’s not exercise. It’s a way of life. It has become such a big part of my life. The people I train with and have met through the years, I think of them as family. Cathy Burns Too many to choose. Find what you’re good at and do that! Kirsten Blakemore Environmental and body awareness. As I mentioned, when I was robbed, I didn’t even notice the kitchen door on the floor as an example of my environmental awareness. That is so different now. I am also aware of my body in space, as well as those around me. Is there anything on the horizon that you’re excited about and would like to share or any final words for our readers? Cynthia Rothrock I’m excited about where my life is today. Filmmaking and martial arts have been my passion for over four decades, and it has been a delight to share that love with my fans worldwide. After starring in over 70 martial arts movies, it’s time for the next step...to produce a movie with my vision and creative control, so I began working on a movie production. I’m proud to be the creator of my upcoming new film Black Creek. I’m one of the writers, producers, and lead actors. Black Creek is a dark, gritty, dystopian, western action martial arts film featuring a strong ‘no-holds-barred’ female protagonist portrayed by me. The plot centers around a sheriff’s sister who seeks revenge against the terrifying leader of a group of outlaws after she discovers he brutally murdered her brother, his wife, and other family members in a gritty southwestern town. It is one of the first times you will see a western/martial arts action film with a female gunslinger who can really fight! I currently have a very successful Kickstarter campaign for Black Creek that’s now over 200% funded, showing my fans are ready to see this film. The best part is fans can even join me on-screen through the great backer incentives at BLACKCREEKMOVIE.COM. Michelle Manu Lua continues to be taught in Hawaii, on the continent, and in Europe at workshops, regular classes, and at colleges and universities. There are some exciting media projects that will release this year showing the proficiency of the Lua in film, television, and streaming platforms. Personally, I look forward to being awarded by Ph.D. this year and releasing two books. I have been sworn to secrecy for all other exciting projects… for now. Barbara White In 2014, at the 50th anniversary of the IKC, Director Steve Cooper asked me if I would coordinate a Women’s Symposium. I felt this was a huge opportunity to highlight women and make known their contributions to Kenpo. We had a panel of women from all over the United States and Ireland on stage, sharing their contributions to the martial arts. We received positive feedback from women and men, and I immediately saw the value of having more of these. During the Covid outbreak in 2020, when Zoom was becoming a popular way of conducting business, I asked a fellow MA, Heather Flessing, to help me conduct a Zoom symposium. Heather has great organizational skills, and we soon had a panel of women answering questions posed by other women in MA. Immediately, I began planning for a second symposium. I asked Heather, along with a woman from our first Zoom panel, Denise Plowman, to become permanent partners in this. Because of our team, the Women’s Symposium has taken off to a new level never imagined. We have a Facebook site that has close to 700 members that recognizes and highlights women in the martial arts. We also have a website, www.symposiuim.kenpowomen.com , where we house prior symposiums and bios. Our vision statement is to “Help women find community and grow.” We have had six symposiums to date, including the first one in 2014. My announcement on the horizon is a second live symposium that will take place at this year’s International Karate Championships at the Westin Long Beach Hotel and Conference Center on July 28, 29, and 30. Please come and support. Cheri Temple I always look forward to opportunities that arise where my husband and I can share the Martial Arts. I’m also looking forward to getting better at tennis so that by the end of the year, I’m on a doubles court in a tournament. Fingers-crossed. Angela Dates Train, teach, learn, train, teach, learn ……. There you have it ladies and gentlemen: inspiration, insight, and life lessons from some amazing Martial Artists. I have learned a lot from each of them, and I am sure I’m not the only one. A huge thank you to all of the ladies that took the time to be part of this interview process and for sharing with all of us. We are richer for your experiences. To all that take to the mats, I salute you. Ian Lauer 3rd Degree Black Belt American Kenpo 1st Degree Black Belt Tae Kwon Do 1st Degree Black Belt Hapkido 1st Degree Black Belt Coszacks Karate