Black Belt Magazine is proud to feature Legend of the White Dragon, an action-packed martial arts adventure that pays tribute to the legacy of Jason David Frank, whose lifelong dedication to the martial arts inspired generations around the world. Best known to millions as Tommy Oliver from the Power Rangers franchise, Jason David Frank was far more than an actor. A highly accomplished martial artist, he held black belts in multiple disciplines and spent decades promoting martial arts through seminars, competitions, and mentorship. His passion for the martial arts community made him a natural fit for the role of The White Dragon—a hero defined by honor, resilience, and perseverance. Photo credit: Well Go USA In Legend of the White Dragon, Erik Reed is a fugitive forced to live in the shadows after being falsely accused. Determined to clear his name and reunite with his family, he must confront a mysterious and relentless villain whose only mission is to destroy the White Dragon once and for all. Blending dynamic fight choreography, emotional storytelling, and superhero action, the film delivers an exciting experience for martial arts and action fans alike. For those who have followed Jason David Frank's remarkable career, Legend of the White Dragon stands as a fitting celebration of his enduring spirit and his commitment to inspiring others through martial arts. Black Belt Magazine recommends catching Legend of the White Dragon when it arrives in theaters on August 28 through Well Go USA!

Core Training and Stability These days, athletes are focusing more attention on core stabilization—during routine training and especially during rehabilitation after an injury. Certain martial arts facilitate good core development; however, core stabilization is more commonly associated with Pilates and yoga. Depending on your training routine, you may experience the benefits of good core stability or the problems that stem from the lack thereof. Core Stabilization “Core” generally refers to the lumbar spine, pelvis, hips, shoulder girdle, or all of the above. An easy way to think of it is that your core is essentially the trunk of your body. Stabilizing your trunk means you have a stable platform to generate power when using your arms and legs. If your core is weak, excessive forces are transferred to your arms and legs, and that can result in injury. A strong core also enhances the transfer of torque from your trunk to your arms and legs, thereby maximizing the efficiency and power of strikes. Core stabilization and core training involve a broad spectrum of exercises that strengthen the muscles of the trunk, abdomen, pelvis, and shoulder girdle. A crucial component is the superficial and deep muscles around the spine that exert control during bending and twisting motions. If your core spinal muscles are weak, repeated twisting and turning, when uncontrolled, can initiate a chain reaction of problems extending outward to your arms and legs. A common problem for martial artists and non-martial artists alike is lower back pain. There are many causes for it, but in a situation in which the lower back is found to be relatively normal after medical investigation, segmental instability of the lumbar spine is a possible mechanism. Segmental instability is hypothesized to occur when a lumbar vertebral body moves to a greater extent than normal. Muscular training around the spine can correct excessive vertebral motion and reduce pain. Restoring the coordination and control of trunk muscles will improve control of the lumbar spine and pelvis. Injury Prevention and Performance If you’re injured, numerous methods can help rapidly return you to activity, as well as improve performance by emphasizing neuromuscular efficiency in your trunk. Core stabilization requires elements of strength training, endurance training, coordination development and, most important, motor learning. Optimal trunk functionality is essential to precision and explosiveness in the extremities. The number of exercises is many; confer with your trainer and/or physiotherapist to find out which ones are best suited to your situation. In general, core stabilization starts with postural positions and lumbopelvic motion, training the correct sequence of muscle contractions and doing this during simulated tasks. It progresses to more dynamic movements that often involve progressive-resistance loading of the trunk, hips, and shoulder girdle. Most core training uses a balanced strengthening protocol involving spine and abdominal muscles. More sophisticated and advanced training relies on coordinated, synchronous activation of muscles in the core, as well as the extremities. No matter which art you practice, the most important principle to understand is that the trunk serves as a stable yet dynamic platform for extremity motion, which means attention to body posture and motion should be the focus of your core strengthening. Core Exercises Core exercises progress from simple to complex and from minimal weight-bearing postures to full weight-bearing dynamic movements, all while maintaining proper breathing. Studies have shown the benefits of such exercises in people with lower back pain. Acute hamstring strain also has been studied, and it was found that core stabilization helps return people to activity sooner with a lower re-injury rate compared to people who do only static stretching and strengthening. Why does it help with injury prevention? Inadequate neuromuscular control of the trunk may compromise dynamic stability of the lower extremities and result in increased torque at the knees. This tends to increase strain on knee ligaments, thereby leading to injury. The body’s ability to maintain or resume an equilibrium position of the trunk after perturbation is critical. The position of the trunk over the legs during movement can change your center of balance and the force acting on your joints. The ability to dynamically orient the trunk over the lower extremities, especially while landing after a jump, may decrease the risk of leg injury. Ongoing Research Core stability is still being researched despite numerous advances in our understanding of the anatomy and biomechanics of the trunk. Similar efforts continue to provide knowledge of the neuromotor mechanisms, or the interaction between the nervous and musculoskeletal systems, of trunk control and dynamic movement. The challenge lies in using that knowledge to select specific exercises that will help you achieve the results you want.

Sikh Warrior Ways: The History and Development of the Weapons Art of Gatka To document the evolution of gatka, the traditional weapons-based combat sport of the Sikhs, one must first look to the ancient Hindu martial art of shastar vidya, from which it’s derived. The origins of shastar vidya, which means “weapon science” in Sanskrit, are unknown, but according to ancient accounts, the art may have belonged to a Caucasian tribe that invaded India around 1500 B.C. Other sources indicate that it predates that invasion and was the product of prehistoric Indians. Whatever the truth, one thing is for certain: In the 17th century, Guru Hargobind Ji, sixth guru of the Sikhs, made shastar vidya part of a training regimen designed to prepare men for battle against the Mughals, who were persecuting people across the Indian subcontinent. Guru Hargobind Ji introduced the concept of miri-piri, or temporal and spiritual power, which helped transform the Sikhs into saint-soldiers who were ready to wage war against anyone who committed injustice, regardless of their religion or caste. Practitioners were taught to use their skills only for defense and only as a last resort. Guru Gobind Singh Ji (1666-1708), the 10th Sikh guru, made that crystal clear when he wrote, “When all other means of ending injustice have failed, it is permissible to hold the sword.” Shastar vidya was widely taught and studied until the early 19th century. Afterward, its numbers declined rapidly because masters were killed or forced into exile by the British. Fortunately, the art survived the attempt at eradication, mostly because it had been secretly taught to people who lived in the community of Akali Nihang Singh Khalsa, India, where the most martial faction of the Sikhs resided. Only in recent years has shastar vidya been made available to the public. EVOLUTION From the battlefield art of shastar vidya, the combative sport of gatka evolved. Attend a modern Sikh festival, and it’s gatka you’ll see demonstrated. In fact, whenever practitioners display their skills with the gatka stick, staff, sword or shield, crowds gather for the spectacle. A typical gatka lesson takes place in a training hall that’s called an akahra. Instruction begins with the teacher leading the students through warm-up exercises and stretches to prepare their muscles for what’s to come, thus helping them avoid injury during the repetitive portions of the workout. Next come prayers and a traditional salute to the weapons that will be wielded. Beginners must learn the basic footwork before they’re permitted to touch the weapons, which lie neatly on a blanket or mat spread across the floor. More correctly described as a series of whole-body movements, the footwork, called pentra, guides their hands and feet in geometrical patterns. Progressing in gatka leads to another prerequisite: meditation. The training, called simran, is a vital component of the art because it keeps the mind focused and free from evil intent, hesitation, haste and distraction. That’s crucial whenever potentially deadly weapons are about to become part of the mix. When weapons are introduced, students are taught a few movements slowly and told to master them before other techniques are shown. In the early stages of learning, speed is discouraged for obvious safety reasons. ARMS Gatka training includes a plethora of weapons, most of which fall into the categories of blunt, bladed, flexible and projectile. All were designed to injure or kill on the battlefield. For example, the khanda is a double-edged sword with a heavy broad end that enabled warriors to hack off an enemy’s limbs with ease. The katar is a punch dagger designed to penetrate body armor. The lathi is a bamboo staff that’s hard but flexible, the nature of which enabled a warrior to shatter an enemy’s bones without shattering the weapon. The chakar is a steel ring with a sharp outer edge. When thrown, it could sever body parts. Other war devices in the gatka arsenal include the gurj (mace), bichua (curved dagger), teer (arrow), barcha (spear) and talwaar (curved sword). No matter which one is wielded, modern practitioners emphasize safety. Their primary goal is to demonstrate perfection of martial skill—much like karate students do with weapons kata. APPLICATIONS Even though gatka is no longer the weapon of choice for men on the battlefield, it can still function in self-defense. Because its stances and techniques are more realistic than those of some ancient arts, they can permit practitioners to fend off real-life attacks. Its effectiveness is enhanced by its evasive footwork and practical hand techniques. It’s that relevancy, coupled with its historical roots, that causes Sikhs to hold great respect for gatka, which is regarded in a different light than, say, imported arts like karate, kung fu and taekwondo. That cultural connection draws strength from the few gatka manuals that have been preserved. One is titled, naturally enough, The Art of Gatka-Fighting. It was written in 1936 by K.S. Akali, physical director of RSD College in Ferozepur, British India. Another text, Gatka: Book One–Dance of the Sword, was written in the 1980s by a well-known American master named Nanak Dev Singh Khalsa. Gatka has spread to many parts of the world, including America, Canada, Britain and Germany—mostly through the hard work of the Punjab Gatka Association, the Gatka Federation of India, the International Gatka Organisation and the International Gatka Federation. Their members are dedicated to the preservation and promotion of the art. SOURCES FOR SIKH SKILLS Shastar vidya is now taught by a man named Niddar Singh in five locations in the United Kingdom: Wolverhampton, Birmingham, Leicester, Cranford and Slough. He’s the ninth master in his lineage. His skills in armed and unarmed combat are remarkable, and his knowledge of Sikh history and traditions is astonishing. Martial artists interested in learning more about gatka are advised to search online for one of the aforementioned books or organizations. Alternatively, they can access videos of the art on YouTube. In 2006, a renowned United Kingdom-based master named Uptej Singh performed at a Sikh temple for the Prince of Wales, Prince Charles, and the Duchess of Cornwall, Camilla. The art was also famously demonstrated in a 2010 episode of the reality-TV show India’s Got Talent. The practitioners, members of the Bir Khalsa Group, even reached the finals. As more people discover gatka, chances are good that it will experience a revival and become a popular 21st-century “cultural combat sport.” More good news for the historically inclined: Thanks to the efforts of people such as Niddar Singh, shastar vidya is also gaining popularity. In all likelihood, neither art will be lost to the sands of time like so many other aspects of pre-Mughal India have unfortunately been.

"Without Ed Parker, the modern martial arts world would look very different." Every August, the martial arts community returns to Long Beach—not simply for another tournament, but to honor the vision of one extraordinary man. Senior Grandmaster Ed Parker Born in Hawaii, Parker arrived in Southern California during a time when karate was virtually unknown in America. Opening one of the first commercial karate schools in the Los Angeles area, he introduced thousands of Americans to the art of Kenpo Karate. But Parker's ambitions extended far beyond teaching techniques. He dreamed of bringing martial arts out of the dojo and into the mainstream. That dream became reality in 1964, when he founded the Long Beach International Karate Championships, an event that would forever redefine martial arts competition. Parker welcomed practitioners from every style, every country, and every background, creating what would become the most prestigious martial arts tournament in the world. For more than four decades, the Internationals became the stage where legends were made. It was here that Chuck Norris, Joe Lewis, Bill "Superfoot" Wallace, Benny "The Jet" Urquidez, Cynthia Rothrock, Mike Stone, Steve Sanders, and countless other champions built their reputations. It was also the tournament that introduced a young martial artist named Bruce Lee to the American public. Invited personally by Ed Parker to demonstrate his revolutionary approach to kung fu, Lee's famous one-inch punch and two-finger push-ups became one of the defining moments in martial arts history. Yet Parker's influence reached far beyond competition. Long before martial arts became a Hollywood phenomenon, Ed Parker understood the power of entertainment. He was the first promoter to merge the worlds of martial arts and celebrity, transforming the Long Beach Internationals into a cultural event unlike anything audiences had ever seen. His close friendship with Elvis Presley, one of his most devoted Kenpo students, helped bring unprecedented attention to the martial arts. Hollywood icons, including Sharon Tate, Sidney Poitier, and many other actors, filmmakers, and entertainers, regularly attended the Internationals, making the tournament as much a gathering of stars as it was a showcase of champions. In doing so, Parker helped lay the foundation for martial arts' eventual explosion in film and television. No publication chronicled that journey more closely than Black Belt Magazine. From its earliest years, Black Belt documented Ed Parker's innovations, profiled his students, covered his tournaments, and celebrated the champions who emerged from the Long Beach stage. Together, Ed Parker and Black Belt Magazine helped introduce martial arts to millions of readers, preserving the stories, techniques, personalities, and history that continue to inspire practitioners around the world. Their partnership helped shape an entire generation. Today, the Long Beach Internationals remain more than a tournament—they are a living tribute to a man whose vision united styles, elevated competition, embraced Hollywood, and brought martial arts into popular culture. As the martial arts world gathers once again on the first weekend of August, we celebrate not only an iconic championship but the remarkable legacy of the man who made it all possible. Thank you, Senior Grandmaster Ed Parker. Your vision transformed martial arts from a niche pursuit into a global movement. Your friendship, mentorship, and leadership changed lives, launched careers, and inspired generations. Black Belt Magazine makes sure that legacy continues to be shared with martial artists around the world. The legend lives on.

“I think everybody likes to fight. At a certain age, most people find out it’s not for them, so they choose something else. But deep in their heart, every guy likes to fight.” —Bas Rutten, Former UFC Heavyweight Champ Dealing with violence is a large part of what the martial arts are about. On the most basic level, they’re about physically responding to violence. But to do that, we learn more than just punches and kicks. We learn about the nature of violent confrontations. We look into how they start and why. We study ways of defusing situations before things get physical. Stay in the arts long enough, and all this thinking about violence will lead you to questions about human nature. Are we inherently violent, or do circumstances make us so? If violence and aggression aren’t in our genes, why do so many choose them over nonviolence? Those questions are at the heart of what it means to be a martial artist. They’re also at the heart of The End of War, a new book by John Horgan. Horgan is best-known for writing another “end of” book, the mid-1990s best-seller The End of Science. His new book is a survey of what science tells us about war—that conflict is not in our genes or based on environmental causes. The evidence seems to show it’s a consequence of our choices. Horgan argues that war is coming to an end because we’re slowly reaching the limits of our tolerance for it. The First Few Sections The first few sections of the book survey the evidence from studies of apes that lethal aggression is innate. Special attention is given to primatologist Richard Wrangham’s research on how and why chimpanzees kill each other. Similar patterns in chimps and humans, he argues, suggest a common tendency toward lethal aggression. And his observations of groups of chimps in the wild killing lone members of other groups for no apparent gain does seem depressingly similar to human cruelty. He says that chimps may kill other chimps for no reason other than they like killing and that humans, especially men, are the same. But when Horgan reviews the research on primate violence, he finds much less evidence for lethal aggression being innate. For example, he looks at the actual rate of lethal group attacks by chimps and finds they happen about once every seven years. He even gets Wrangham to admit in an interview that chimps killing each other is rare. Then Horgan surveys studies of other primates and finds more evidence that environmental factors determine their level of violence. The most eye-opening was a study of a troop of baboons in which the most aggressive males were killed off by disease. That led to “conflict within the troop dropping dramatically,” and the change in violence “persisted for more than two decades, even after [the troop] absorbed males from other nearby populations.” In other words, our shared genetic heritage is more about adaptability to change than a tendency to kill. Research on Violence The book examines anthropological and genetic research on violence. The anthropology shows there’s wide variation between cultures in their levels and frequencies of lethal violence. What’s surprising is how little evidence Horgan could dig up for violent group conflict in human prehistory. It suggests that war is a human invention, not an inescapable fate. The genetic research is about efforts to find a “warrior gene” and the failure to locate one. Horgan sums up this shortcoming by talking about crime rates: “No purely biological model can explain why, for example, recent U.S. homicide rates are 10 times lower than in El Salvador and 10 times higher than in Japan.” The focus then turns to external causes of violence. If we aren’t born to kill, maybe our circumstances force us into lethal conflict. Horgan goes over the connections between war and things like population density and resource scarcity. The research shows that these are very real risk factors for conflict, but peace can be maintained in their presence. Sometimes wars are waged even when risk factors are absent. As Horgan puts it, “Many conditions appear to be sufficient for war to occur, but none are necessary.” We’re left with the conclusion that lethal group violence is a collection of our choices. Nothing makes this kind of violence inevitable, not genes and not environmental circumstances. We choose violence. Either it’s a rational choice, like when a nation defends itself from attack, or it’s an irrational choice, like when people kill because they fear or hate another culture or race. The Best Part The best part of The End of War is the evidence that humanity may be choosing a more peaceful world. Horgan’s review of the statistics shows there were roughly 4 million war-related deaths per year worldwide in the first half of the 20th century, compared to 1 million per year in the second half. That number has dropped to 250,000 per year since the turn of the century. My only quibble with the book is that the focus on lethal violence and war obscures the general aggressive tendencies in people. We may not be born to kill, but I agree with the Bas Rutten quote. All primates, including humans, put on angry displays and engage in nonlethal fights. And really, it’s a rare person who doesn’t occasionally want to bury his fist up to the elbow in another guy’s face. We may not do it, but we feel it. These general aggressive tendencies are not the same as lethal violence, but they’re related. I would have liked to see more about what science tells us is normal aggression and how it’s distinct from lethal conflict. Overall, The End of War presents a compelling argument that lethal group violence is not inevitable and that we can and should do something about it. It’s a message that many martial artists are sympathetic to but one most of us base on beliefs, not evidence. What Horgan gives us is that missing evidence and some solid reasons to be optimistic about the future.

Ever look through an old issue of Black Belt and see an article about a martial artist who catches your interest? Ever wonder what happened to that person? More than 30 years ago, Black Belt ran a story about a New Yorker named Ralph Mitchell, one of the first Westerners to train in Chinatown’s kung fu schools. Later, he served in the Vietnam War and gained exposure to Thai boxing. Afterward, he competed in underground kickboxing tournaments, eventually making his way back to Thailand, where he was among the first Americans to train there. It was a fascinating look at a pioneering martial artist with a wide range of unique experiences. So what happened to Ralph Mitchell? Turns out he’s still in New York and looking not so different from the way he did in those old photos. Of course, I asked him the obvious question when we connected: “What have you been doing for the past 30 years?” His answer was what you’d expect: He’s been training. Combined Experience Mitchel combined his experience in judo, kung fu, kickboxing and other arts and created his own style, called the Universal Defense System. “I have students from back then who have graduated from my school and now have schools of their own under the Universal Defense System banner,” he said. “But they have my blessings to change things. I don’t want clones.” Although he started his career giving instruction in the traditional hung gar and praying-mantis styles he learned in Chinatown, his curriculum evolved to embrace the many styles he’d been exposed to. “Now I teach the concepts of the arts I’ve done,” he said. “Rather than a specific style, we deal more with the elements of fighting at long range, middle range and close range.” Never one to rest on his martial arts laurels, Mitchell also studied jeet kune do under Dan Inosanto and Paul Vunak during the intervening years. And he took up savate. His approach to training remains the same as it was decades ago—to be in the best possible condition so he doesn’t get tired during a fight and to be pound for pound the strongest martial artist he can be. “The difference is, I’m more well-rounded and understand fighting better now,” Mitchell said. “I understand the strategy and tactics. I also understand how some people are better-suited for traditional martial arts and some people want to compete, and I understand how to help them go from amateurs to professionals.” Although he still teaches elements of the traditional arts, like kata, in his schools, he’s had no qualms about branching out into MMA—helping produce, among others, former UFC competitor Phil Nova and IFL veteran Nardu Debra. Both started as children in Mitchell’s traditional program and later transitioned to MMA. Traditional Roots, Modern Respect Despite his traditional roots, Mitchell has always been a fan of MMA—“a fighter loves a fighter,” he said—while at the same time disapproving of the circus mentality that sometimes surrounds the big events. As for traditionalists who turn up their noses at MMA, he said those who haven’t actually done it should at least respect it. One thing he doesn’t respect is traditional instructors who try to jump on the MMA bandwagon by claiming to teach MMA. “If you’re a good karate school, then call yourself a good karate school—be proud of that and stick with that,” he said. “But I can understand there’s a law of supply and demand, and MMA has made a big dent in the business of traditional schools. It’s a fine line between the positive and negative influence MMA has had. Nowadays, people aren’t looking for a Yoda-type sensei to teach them. They’re looking for a coach to get them into some form of competition. They have multiple coaches for different aspects of the game.” But Mitchell’s OK with that, saying he primarily handles the stand-up training for his students who compete in MMA. Wisely, he has Brazilian jiu-jitsu instructors oversee their ground game. His feet are firmly planted in the modern era, but he still respects the past. He gives a lot of credit to his first martial arts instructor, Edward Liddie Sr., while making sure to mention Liddie’s son, Eddie Jr., an Olympic medalist in judo. He also stays in touch with his first kung fu instructor, Gin Foon Mark. Mitchell is quick to acknowledge that he was wrong about one aspect of the arts: In that old Black Belt article, he gave the impression that racial discrimination held back Westerners who wanted to learn kung fu in Chinatown in the 1960s, but in hindsight, he said he believes it was just a filtering system. “Sifu Mark said to me it doesn’t matter what race you are—laziness is a universal thing,” Mitchell recalled. “That’s why they started us with the most difficult forms and made us hold the lowest stances—to see if we really wanted to be there. Now I train my students the same way.” Photo Courtesy of Ralph Mitchell

Is your rear heel down when you assume a front stance? If it isn’t, your teacher will be there to correct you. Karateka are drilled incessantly in the matter of keeping that heel down when they begin training. The heel must be planted firmly to correctly transmit power in the course of a technique. It works something like this: Adopt a front stance next to an immovable object—a wall or a telephone pole, for example. Extend your arms and push against the object with your palms. If you push hard, your rear heel will go flat against the ground. Similarly, if you’re pushing a car out of a snowbank, you’ll naturally begin in something like a front stance, with your heel again firmly on the ground. You can feel the smooth transition of power, coming off the back heel and going through your body and eventually out your arms. LET’S CHANGE THINGS The car’s cleared the snowbank. You have to trail after it, following along until it has enough momentum to get back on the road. You’re still pushing, but the car’s moving away from you. Guess what? Your heels are going to come off the ground. You cannot move without lifting them. Keeping your heels on the ground is a necessary step in learning to use your body efficiently to strike. It’s a step, though; it’s not a final, fixed goal. Many times, both karateka and critics of the art fail to make this distinction. The basics are just that. It’s like drilling in formation at boot camp. The exercise teaches team cohesion and the ability to follow orders. You don’t, however, see Army Rangers doing a lot of formation drilling. There’s a lesson there. It’s essential to learn the basics. Likewise, it’s essential to have that heel firmly planted in a front stance. You must do it so often it becomes instinctive. That will allow you to perfect your method of stepping—not pushing off your back foot but “pulling” your rear leg forward by contracting the muscles in your front leg. Stepping in karate is accomplished like a sprinter coming off the blocks: squeezing the toes of the front foot to draw the rear one up. If you raise your heel, you’ll step incorrectly, according to the principles of karate, and wind up pushing off your back foot instead of pulling forward with your front one. Once you’ve learned that principle, however, you need to begin to add sophistication to your technique. In no fighting art should you keep your rear heel on the ground, except possibly during the moment of contact. Fencers move on the balls of their feet, as do boxers. Karate is no different. When sparring or fighting, the heels of both feet need to be off the ground—just enough to slide a sheet of paper between your heel and the floor. Doesn’t seem like much, but it changes everything in your movement and in the correct, effective delivery of technique. When you drive forward, making a full step to deliver a punch, you use primarily the pulling action of your front leg. But to get depth in your step, achieve penetration and maximize your speed, you also must push off the ball of your rear foot. If you depend too much on this push—in other words, if you haven’t learned the basics—you’ll come up on the ball of that foot excessively. It’s easy to see examples of this. Pushing off too much from your rear leg breaks the chain of connections in your body, from your foot through your hips and into your shoulders. Pushing off your rear heel makes it more probable you’ll use just your shoulders in punching instead of your hips. AS A TEACHER If you see a karate practitioner throwing his shoulder into a punch, you can almost bet his rear heel is off the ground. Correcting the problem by telling him to put the heel down is OK; it’s more productive to correct from the other end, though. Demonstrate the twisting of the hips and position his shoulder correctly, and you’ll see the heel drop down where it should be. Once you have him making the movement correctly, don’t just leave him there. Begin to introduce the more advanced way of stepping and moving—with the heels lightly raised to provide spring, agility and the ability to move in or out, quickly and effectively.

Long before mixed martial arts became a global phenomenon, one Australian instructor was asking a simple question that would define an entire generation of martial artists: "Does the technique really work?" That question became the foundation of Zen Do Kai, the martial art created by Bob Jones when he opened his first dojo on June 1, 1970, at 48 Elizabeth Street in Melbourne. Originally developed to meet the needs of Australia's growing security industry, Zen Do Kai was unlike the traditional systems of the day. It wasn't built around preserving tradition—it was built around surviving reality. At a time when most karate schools focused almost exclusively on forms and tournament competition, Jones believed a martial art should constantly evolve. His philosophy became known as "The Best of Everything in Progression," encouraging practitioners to adopt effective techniques from boxing, Muay Thai, jujitsu, aikido and other combat systems while remaining grounded in the discipline and values of traditional karate. That philosophy wasn't tested in a laboratory—it was tested every weekend. Jones assembled a legendary group of full-contact fighters known as The Wrecking Crew, many of whom worked nightclub security during one of Australia's toughest eras. They also provided protection for international musicians and touring rock stars, bringing real-world experience back into the dojo. Every confrontation became another lesson in what worked, what didn't, and how the system could improve. It was this constant cycle of testing and refinement that gave Zen Do Kai its reputation as one of Australia's most practical martial arts. But Bob Jones never viewed martial arts as something frozen in time. Reflecting on three decades of teaching, he rejected the idea that "the old days were tougher." Instead, he argued that every generation has its own challenges and that instructors have a responsibility to keep learning, travel, cross-train, and remain open-minded. In his words, no single style has all the answers—a philosophy that was decades ahead of its time and anticipated today's cross-training culture in combat sports. His influence quickly spread beyond Melbourne. Zen Do Kai expanded throughout Australia and New Zealand, producing thousands of black belts and instructors while establishing one of the region's largest martial arts organizations. Jones also became a familiar face in Australian media, introducing martial arts to mainstream audiences and helping shape the country's modern self- defense culture. Today, more than five decades after opening that first dojo, Bob Jones' legacy lives on—not simply through the organization he founded, but through an enduring philosophy that martial arts should never stop evolving. For generations of Australian martial artists, Bob Jones didn't just teach people how to fight. He taught them how to think like martial artists. Black Belt Magazine proudly celebrates Bob Jones—one of the true pioneers of modern martial arts. Did you train in Zen Do Kai or have a memory of Bob Jones? We'd love to hear your story in the comments.

The sickening sound of a bone breaking was the first indication her elbow had snapped. “It was just an armbar,” she said. “I thought I could get out of it.” Didn’t it hurt? “Not really,” she said, flashing a big Hilary Swank smile. “I’m double-jointed, so I don’t have the same pain-receptor feedback as most people. But then it popped, and I said, ‘Oops!’” It was just another day at the office, it would seem. In this case, however, the office was a sweat-soaked gym, and the laborer was the first Air Force female to become certified as a Marine Corps Martial Arts Program instructor. Meet Staff Sgt. Jessica Field. Out of the Box “I had dabbled in martial arts for years,” Field said. “In college, I practiced aikido and Brazilian jiu-jitsu, but I was looking for something practical.” Note Field’s use of the word practical. Because she was an Air Force intelligence analyst facing imminent deployment on a top-secret mission in the Third World, she had big-time safety concerns. “I wanted to learn a martial art that could get me out of a jam, if needed, and my friends recommended the Marine Corps Martial Arts Program,” she said. Unlike the Marines, which dumped its LINE system in 2002 and replaced it with MCMAP, and the Army, which launched its Modern Army Combatives Program in 2007, the Air Force didn’t have a widely available self-defense program in 2010, when Field was searching for instruction. That forced her to look elsewhere, but she concluded that the other fighting systems to which she had access lacked the practicality she needed. “I explored other options but liked MCMAP the best,” she said. “It has more of a range tailored to outside-the-box situations.” MCMAP specializes in outside-the-box thinking — which is evidenced, in part, by its emphasis on using weapons of opportunity. “It’s driven by the philosophy of ‘one mind, any weapon,’” said Black Belt Hall of Famer Leon D. Wright, a certified MCMAP subject-matter expert and the former head instructor at the MCMAP (Far East) School. That philosophy appealed to Field’s practical side. Gunnery Sgt. Wilson Dunn, a MCMAP black belt, described it in a similarly practical way: “You search your surroundings for anything you can use as a weapon against the enemy. [For example], I could use this computer monitor to bludgeon you.” His statement was blunt, but it revealed an essential component of MCMAP — it teaches students how to apply violence to achieve an objective in a clinical way, “detaching emotions like fear, hesitation — things that get Marines killed,” Dunn added. Field summed it up: “I liked the realism.” And Into the Fire In MCMAP, instructors have Marines sparring from day one, referring to this approach as “indoctrination to violence.” The goal is to enable fighting men and women to come out on top in a one-on-one — or one-on-two — battle for life, Dunn said. Field admitted that MCMAP training pushed her out of her comfort zone again and again. As intimidating as that might sound, she insisted the program is safe and the instructors are encouraging and patient with new practitioners. They welcome students from all military branches who are brave enough to hit the mats, she said. As for her broken elbow — “That’s not uncommon,” Dunn said, “because these are combatives, and there are risks involved” — Field admitted it was her fault for not tapping. Although the injury occurred in January 2015, her limb has healed completely and shows no indications of having been damaged. Examining the arm, all anyone can see now is a honed musculature, a visual testament to Field’s conditioning. “I weighed 175 pounds before I joined the Air Force,” Field said. “That’s why I’m so committed to fitness.” MCMAP was the driving force behind her transformation, and it continues to be a pillar of her healthy lifestyle. In addition to her martial arts training, the plucky NCO lifts weights, does calisthenics and runs with her husband, a former Marine who also trained in MCMAP. But — “We don’t spar,” Field said. “For the sake of our marriage.” Present From the Past MCMAP sprouted from roots that date back to the earliest days of the Corps, when Marines in boarding parties had to rely on hand-to-hand fighting techniques. The ensuing decades saw the system evolve considerably with help from numerous martial arts experts. The modern incarnation of the Marine Corps Martial Arts Program also incorporates techniques designed to injure or incapacitate, not just to kill. That’s a fairly recent response to calls for the U.S. military to use nonlethal force in certain situations. Case in point: Marines often find themselves involved in police actions, crowd and riot control, and other situations that require them to interact with civilian aggressors. Obviously, such assignments demand versatility with respect to technique, as well as practitioners who can make decisions on the fly. The decision-making ability comes from the training, while the techniques come from a variety of martial arts, including those from the East (aikido, karate and so on) and those from the West (boxing). Field is a fan of that diversity. She believes that everyone who studies self-defense should know how to throw a jab, but she said her favorite part of the combative arts is ground fighting. “I like jiu-jitsu,” she said. “I’m small, and it helps me fight bigger, stronger guys.” Bolstered by her training, the staff sergeant seems much taller than her 5 feet 4 inches. “That’s the confidence you get from MCMAP,” she said. “It carries over into every part of your life. You carry yourself differently when you walk into a room.” Rank and File Like most modern fighting systems, the Marine Corps Martial Arts Program uses belts to denote rank. Specifically, it features the Marine-friendly colors tan, gray, green, brown and black, Dunn said. Field holds a green belt with an instructor tab, which she earned during a grueling course held at the Martial Arts Center of Excellence in Quantico, Virginia. For reference, green belt is the level expected of Marine Corps infantry troops. She said she hopes to test for her brown belt by the end of 2015 and has petitioned the Air Force to allow her to wear her rank with her camouflage uniform like the Marines do. One of the goals of Field’s training is to convey to others the notion that combat skills learned from MCMAP can benefit any service member who’s interested in self-development. “I’d like to spread expertise and get other instructors certified — to get it to the Air Force or anyone interested,” she said. Because she earned her instructor tab, she’s certified to teach the art to members of all the armed services, so she’s in a prime position to preach the gospel of MCMAP. Popular Opinion What do Marines think about the first female airman to become certified to teach their art? “It’s impressive,” Dunn said. “It’s good to see airmen appreciate the value of training. I commend anybody who does that. We all take the same oath to preserve and protect the Constitution.” Wright said he admires Field’s accomplishments, which offer tangible proof of the validity of MCMAP. “It works for all who decide to be part of it,” he added. “Going through the training process is the same for everyone — there’s no special treatment. The training has been proven for both men and women in combat, not only physically but also mentally.” Marine 2nd Lt. Aleksandra Sawyer, who owns a MCMAP gray belt, said she thinks Field is awesome. The two recently rolled at Fort Meade, Maryland, where they took turns submitting each other. Field found herself tapping when her elbow clicked painfully during a submission attempt from the Marine, and Sawyer had to fight off several chokes initiated by Field. The Marine fought valiantly against one such choke but finally tapped as her face turned purple. Both Field and Dunn said the pain they experience in the gym — including those occasions when an old injury gets tweaked and the blood supply to the brain gets momentarily halted — is worth it. The reason is simple: That kind of “hard Corps” training ultimately increases the odds that they’ll survive on the battlefield. Photography by Richard D. Lewis

For those who only know the polished version of today’s combat sports, it’s hard to explain what the “blood-and-guts” era really meant. In the 1960s, tournament karate wasn’t about sponsorships and branding — it was about grit. Minimal pads. Hard contact. Long days. It was one division after another, and in that unforgiving crucible, Joe Lewis stood out. Here are five reasons why, from our vantage point, he stands on the Mount Rushmore of American karate. 1. He Won When Winning Meant Something Different Lewis didn’t dominate in a refined, point-tapping era. He won when heavyweights collided with force and consequences. The tournaments of the ’60s were raw, and his victories were earned the hard way. Joe Lewis circa 1967. Copyright Black Belt Magazine 2. He Redefined the Heavyweight In a time when size often meant stiffness, Lewis moved with speed and precision. He brought athleticism and intelligence to the heavyweight division — and retired from full-contact competition undefeated as a champion. Joe Lewis with a young Bill Wallace 3. He Helped Build Full-Contact Karate When full-contact karate emerged in the early 1970s, many traditionalists hesitated. Lewis didn’t. He stepped forward and helped legitimize it. His bouts were not exhibitions — they were proving grounds. American kickboxing owes much of its early credibility to his willingness to test himself under those rules. 4. He Blended Boxing and Karate Before It Was Fashionable Today, cross-training is expected. Back then, it was controversial. Joe Lewis incorporated Western boxing — footwork, head movement, combination punching — into karate strategy. It was revolutionary. He wasn’t abandoning tradition; he was evolving it. We watched the shift happen. And the sport was never the same. 5. He Carried Karate to the Big Screen As martial arts moved into popular culture, Lewis stepped into film, appearing in Jaguar Lives! and Force: Five. He represented American karate with authenticity — not theatrics. 6. The Respect of Legends In our pages and at ringside, we witnessed the mutual respect among pioneers. When figures such as Chuck Norris, Bill Wallace, Jeff Smith, Mike Stone, and Bruce Lee acknowledged Joe Lewis, it wasn’t hype — it was earned regard from men who understood combat at the highest level. Photo credit: Joe Corley, Battle of Atlanta Hall of Fame 7. He Produced Thinkers, Not Imitators As an instructor, Lewis emphasized understanding over mimicry. He wanted students to know why techniques worked. That intellectual rigor shaped a generation of American martial artists. Joe Lewis Fighting System 8. He Helped Mold American Martial Arts From point fighting to full-contact competition, from stylistic purity to blended striking systems, Joe Lewis stood at the crossroads of transformation. American karate did not simply grow during his era — it evolved. And he was one of its chief architects. Black Belt's View From Ringside Mount Rushmore is reserved for those who define an era. We chronicled the tournaments. We photographed the battles. We published the debates about contact and tradition. Through it all, Joe Lewis remained constant: evolving, competing, teaching and pushing the boundaries of what karate in America could become. That is not nostalgia speaking. That is history. From where we stood — ringside, notebook in hand — Joe Lewis carved his place in stone.

A New Chapter in Martial Arts Evolution Innovation in martial arts has never arrived quietly. I’ve seen it time and again—moments where the very idea of change unsettles tradition. When Bruce Lee challenged rigid systems and spoke of adaptability over form, he was met with resistance from those who believed the old ways needed no questioning. When the Ultimate Fighting Championship first emerged, many dismissed it as chaotic, even disrespectful. Even today, taekwondo continues to navigate the tension between Olympic sport and traditional practice. Yet, none of these moments diminished martial arts. They expanded it. Sometimes through argument. Sometimes through resistance. And sometimes—through open arms. At Black Belt Magazine, we will not shy away from standing at the front of that conversation, not to provoke division, but to document, understand, and share the ongoing evolution of martial arts worldwide. So I begin here, with clarity. For years, Filipino martial arts have quietly influenced the world: Military combatives Law enforcement tactics Hollywood fight choreography Bruce Lee’s weapon work on screen reflects clear influences from Filipino martial arts—whether widely acknowledged or not. And yet, despite this reach, the art itself has remained under-recognized as a competitive sport on the global stage. This is not an argument about what is better. This is not a challenge to tradition. And this is not about taking sides. There are established organizations such as WEKAF, and there are valid discussions about rules, direction, and preservation within Filipino Martial Arts. But this moment isn’t about choosing between them. Much like MMA once faced skepticism, any new format challenges convention. Juego Todo is not a replacement for tradition, it is a new lens. A format. A proving ground. The question is not whether Filipino martial arts still embody adaptability, efficiency, and realism. The question is, how do those qualities express themselves today? This is where the conversation begins. Black Belt Magazine sees this as an opportunity—not to persuade, but to present. To offer something new to a community grounded in tradition. Something to observe. Something to consider. Perhaps even something that changes the way we watch Filipino martial arts. And like every turning point before it, the value is not in immediate acceptance—but in the willingness to see it for what it is. Enter Juego Todo: Where Art Meets Sport Juego Todo was created in 2014 by Ferdinand Munsayac, a retired U.S. Navy Chief with 20 years of honorable service and a Persian Gulf War veteran. After his military career, he returned to the Philippines with a mission—to transform the lives of underprivileged fighters through combat sports. As the founder of UGB Corp and Juego Todo, he has become a driving force in elevating grassroots Filipino martial arts to a global level. with a clear mission: to unify Filipino martial arts and provide fighters a professional platform to test their skills. Inspired by the rise of MMA in the Philippines, Munsayac envisioned something more: A system that doesn’t dilute tradition but instead tests it under pressure. In speaking with Munsayac, one idea surfaced immediately—something was missing. For decades, Filipino martial arts lived in demonstrations, seminars, and small-scale tournaments. What they lacked was professionalization—a true pathway for athletes, a unified structure, and a global competitive identity. Today, we recognize national combat sports as symbols of their countries—Muay Thai for Thailand, taekwondo for Korea, karate for Japan. Juego Todo aims to position Filipino martial arts in that same global conversation. But building something new in a deeply traditional space rarely comes without resistance. Munsayac points candidly to what he calls a familiar challenge within the community: division. The mindset of “my system is better than yours” has long fractured unity within Filipino Martial Arts. Add to that a lack of institutional support and concerns that the format was too intense, too unfamiliar—and the resistance became inevitable. Yet, in many ways, that resistance revealed something deeper. It wasn’t just about rejecting a format. It was about resisting change itself. And still, the question remains: how do you evolve an art rooted in real combat without losing its essence? For Munsayac, the answer lies in balance. Historically, Filipino martial arts were practiced in duels—often with life-or-death consequences. That reality is part of its identity. Juego Todo does not ignore that history—it transforms it. From no rules to structured competition. From bare combat to protective gear and safety protocols. From open grounds to a regulated arena. The goal is simple: preserve the essence—remove unnecessary risk. At the same time, it becomes a bridge between generations—educating younger practitioners while encouraging elders to recognize that evolution is not abandonment, but survival. After more than a decade and over 100 events, Juego Todo has grown into a global movement: 52 countries represented 500+ fighters worldwide Recognition by the Philippine Games and Amusements Board Beyond growth, the identity of the sport is ultimately defined by its athletes. A Juego Todo champion, as Munsayac describes it, represents something distinct: Not theory. Not choreography. Not controlled demonstration. But truth under pressure. It is what works when resistance is real.What holds up when there is no script.What survives in full contact, unpredictability, and consequence. In that sense, a champion reflects more than skill—they reflect the very core of Filipino Martial Arts: adaptability, composure, and authenticity. And perhaps the most important question of all is not about the present—but the future. What would it mean for Filipino Martial Arts to finally stand on a true global competitive platform? The answer reaches far beyond sport. It means recognition—that FMA is not just cultural heritage, but world-class combat. It means opportunity—for Filipino athletes to build careers, earn respect, and be seen.And it means legacy—the creation of something future generations can stand behind with pride. More than anything, it signals a shift: The Philippines is no longer just the birthplace of Filipino Martial Arts. It becomes its global leader. Where Evolution Leads Martial arts have never been static. They adapt. They respond. They evolve. Bruce Lee understood this long before it became widely accepted. His philosophy was not about abandoning tradition, but about freeing it from limitation. To keep what is useful. To discard what is not. To allow growth where growth is necessary. That same tension exists here. Juego Todo may not be the final form. It may not be universally accepted. And it will certainly be debated. But so was everything that came before it, and that is precisely the point. The value of innovation in martial arts has never been in immediate acceptance— but in the willingness to see it clearly. To watch it. To question it. To understand it. Because evolution, whether welcomed or resisted, has always been part of the journey. And perhaps, in that way, this moment is not so different from the ones that came before it. It’s simply the next expression of a timeless idea: that martial arts are not fixed. They are alive. THE FORMAT: THREE ROUNDS. TOTAL COMBAT. Juego Todo is a three-round war of progression, where every phase demands mastery: Round 1: Doble Baston (Double Sticks) Weapon-based combat. No disarms—because every strike is treated like a blade. DOBLE BASTON (Two Sticks) Allowed Body strikes with sticks Kicks, knees (body only) Takedowns & disarms Key Restrictions No strikes to the head No thrusting or butt-end strikes No illegal weapon use No intentional weapon dropping (penalty) Round 2: Solo Baston (Single Stick + Striking) The fight intensifies. Fighters add knees, elbows, takedowns, and sweeps—blending weaponry with close-range brutality. SOLO BASTON (One Stick) Allowed Stick striking Limited hand strikes Body kicks & knees Takedowns & disarms Key Restrictions No strikes to the head No thrusting or butt-end strikes Must follow referee during disarms Dropping the stick = penalty Round 3: Mano-a-Mano (Hand-to-Hand) MMA rules MANO Y MANO (Full Contact) Allowed Punches & kicks (head and body) Elbows & knees (with limits) Takedowns & submissions Key Restrictions No strikes to a downed opponent No groin attacks No headbutts, eye gouging, biting No strikes to back of head or spine No cage grabbing No soccer kicks FOLLOW THE ACTION 1. Watch the Weapons In Doble & Solo Baston, fighters score with: Clean stick strikes Control and disarms Important: No head strikes in weapon divisions 2. Look for Control & Damage Judges score using a 10-point must system Fighters win rounds by: Effective striking Takedowns and control Ring/Cage dominance 3. Know the Fight Phases Standing: Striking and movement Clinch: Close-range control, knees, takedowns Ground (Mano y Mano only): Submissions and control 4. Understand the Differences Doble Baston Fast-paced weapon exchanges Disarms can change momentum instantly Solo Baston Mix of weapon + limited hand strikes More tactical and controlled Mano y Mano Full MMA-style action Striking + grappling + submissions 5. Watch for Fouls Referees will stop action for: Illegal strikes (back of head, groin, etc.) Dangerous behavior Weapon misuse Penalties can affect scoring or lead to disqualification Win Conditions Decision (judges’ scorecards) Submission (Mano y Mano) Referee stoppage (TKO/KO) Disqualification UNIVERSAL FOULS (All Matches) Low blows Rabbit punches (hits to the back of the head/neck) Holding and hitting simultaneously Eye attacks or open glove abuse Prolonged stalling/clinch Faking injury or knockdown Unsportsmanlike conduct

The following is a snippet of a feature found exclusively in the Spring 2025 issue of Black Belt Magazine. Since 1979, Burton Richardson has been on an unstoppable martial arts journey. He began training at the original Kali Academy, home to greats such as Sifu Richard Bustillo and Guro Dan Inosanto, then traveled the world to learn from the best. In Manila, he studied under Grandmaster Antonio Ilustrisimo. In Brazil, he trained with top BJJ practitioners like the Machado Brothers and Carlson Gracie. He’s even trained with Zulu warriors in South Africa and earned a black belt in krav maga. His broad experience makes him a sought-after instructor for civilians and law enforcement alike. A prolific writer, he’s authored five books, spent 11 years as a columnist for Inside Kung Fu, and been honored as Black Belt Magazine’s Self-Defense Instructor of the Year. Now based in Hawaii, Burton continues to share his knowledge worldwide, always learning, always evolving. Introduction & Background How did you first get started in martial arts, and what inspired you to pursue this path? As a young kid, I loved Kato in the Green Hornet TV series. I didn’t know until many years later that Kato was played by Bruce Lee. But his dynamic fight scenes were my first exposure to any sort of martial arts. I guess that is how I first caught the bug. When I was nine years old, I endured a very horrible experience. I was abducted by a large adult male, and it was a truly horrific event. Being so utterly helpless while someone much bigger and stronger was constantly threatening to kill me ingrained a very deep desire to learn how to defend myself from evil. It took many years, but as I was allowed to, I started training. By a stroke of luck, that training was at Guro Dan Inosanto and Sifu Richard Bustillo’s original academy in Torrance, California, which was a mile and a half from our house in Carson. For the last thirty years, my main goal as a teacher has been to make others formidable so that they will never be at the mercy of a merciless attacker. To read the rest of the interview, be sure to order your copy of Black Belt's Spring 2025 Issue!