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Do you remember how you were introduced to the world of martial arts? Unlike many whose stories begin in training halls or as badass kids fighting in back alleys, the story of Bruce Leung (AKA Leung Choi-sang) began backstage, under the lights of Cantonese opera, where every movement had to mean something. In that world, fighting wasn’t separate from performance. Timing, balance, and expression all mattered, and those lessons stayed with Leung long after he stepped away from the stage and onto the screen. Although many fans associate him with Wing Chun, Leung’s primary martial art was Goju-ryu Karate, with Wing Chun as an important part of his training. That combination gave him a grounded, no-nonsense presence that stood out in Hong Kong cinema. His movements were compact and purposeful, his strikes looked heavy, and his fights felt honest—qualities directors valued during the kung fu boom of the 1970s and 1980s, when films were made quickly and authenticity mattered. Leung became a familiar face during that era, appearing in a large number of martial arts films. Sometimes his roles were brief, sometimes more prominent, but his impact was often bigger than his screen time. Western audiences may recognize him from The Tattoo Connection , starring Jim Kelly . Leung’s appearance in the film was short, but he played a crucial role behind the scenes, choreographing the action and helping shape the film’s tough, international flavor. He also crossed paths with Jackie Chan  in Magnificent Bodyguards , remembered as the first Hong Kong movie shot in 3D. Working alongside performers who would become global stars, Leung earned a reputation as a reliable professional—someone who could fight, perform, and adapt without fuss. One of the strangest chapters of his career came when he portrayed Bruce Lee  in the infamous Bruceploitation film The Dragon Lives Again . The movie itself remains notorious, but Leung’s casting speaks to how closely his physicality and skill aligned with the era’s image of martial arts legitimacy. Leung also carried films as a lead, starring in titles such as My Kung-Fu 12 Kicks , Kung Fu: The Invisible Fist , and Black Belt Karate . These projects showcased him as a straightforward, believable screen fighter—never flashy, but always convincing. After stepping away from acting in 1988 with Ghost Hospital , it seemed his time in front of the camera had come to a close. Then, in 2004, Leung returned in unforgettable fashion as The Beast in Kung Fu Hustle , directed by Stephen Chow . It was his first villain role and a moment that reintroduced him to a new generation of fans—this time as a quiet, terrifying presence whose power spoke louder than words. Often grouped among the “Four Dragons of Chinese cinema” alongside Bruce Lee, Jackie Chan, and Ti Lung, Leung Choi-sang followed a very different path. He didn’t chase fame or headlines. Instead, he built a career on skill, professionalism, and trust. His legacy lives in the fights he shaped, the films he strengthened, and the reminder that martial arts cinema was built not just by stars—but by craftsmen who made it all work. Perhaps this is what legacy truly means: for many in the current generation, Leung Choi-sang wasn’t just a name in the credits—he helped nudge the door open for a new generation to step into the world of martial arts.

"Speak softly and carry a big stick; you will go far.” Theodore Roosevelt Historical Roots: Can you tell us about the origins of Irish stick fighting and how it evolved over time?   For centuries all across Europe, people trained for using bladed weapons by practicing techniques with wooden sticks: spears, axes, and swords. Over time the stick-training evolved more and more into its own unique way of fighting. In fact, some historians think that the idea for using a two-handed longsword actually came from an earlier staff fighting style with a stick of the same size. In time Irish styles evolved mostly into two main groups that we know of: a two-handed staff style and a one-handed style based on broadsword fencing. Given the number of Irishmen who went abroad to serve in the armies of Europe, it’s not too surprising to find that the one-handed stick style was meant as training for broadsword fencing. You can still use the stick in its own way, but the basic strikes and parries come directly from broadsword fencing.  Cultural Significance: How did Irish stick fighting become an integral part of Irish culture, and what role did it play in the lives of Irish people historically?   Nicol, Erskine. Donnybrook Fair-Call to Fight. 1800s   Well first, it was used as a kind of “contact sport” – very often hurling matches broke down into all-out fights, but in the 18th and 19th centuries people all over Europe and America viewed almost any kind of violence as exciting and a form of entertainment. Modern ice hockey actually comes from playing Hurling and Shinty on ice in Canada, so that gives you an idea of what I mean! Some people think it was also a kind of safety valve for letting off steam in a country almost constantly on the brink of revolution. Some guys did use it as training for a career in the military and at battles like Fontenoy, the Irish Brigade closed with their enemy and engaged in hand-to-hand fighting – little different than faction fighting. Fighting duels with sticks was also a way for the Gaelic Irish to settle disputes amongst themselves and avoid the British courts in Ireland, which they detested. It also laid the foundations for modern Ireland’s tradition of sports. The men who founded the GAA, John Cusack in particular, seem to have known stick-fighting. Some of the earliest Irish boxers like Dan Donnelly were trained stick-fighters first who decided to try this new English sport of pugilism which, in the beginning, used a lot of ideas (like footwork) from fencing. Using fencing concepts was something they were already used to as stick-fighters. And I think modern Irish interest in Asian martial arts and MMA, is all an unconscious legacy of bataireacht.       Bataireacht and Shillelagh: What are the differences between bataireacht and the use of a shillelagh, and how are these terms interrelated?   Bataireacht simply means “stick-fighting” or “fighting with cudgels” in Irish. (Japanese stick-fighting would be Japanese bataireacht for example). Shillelagh is a phonetic translation from Irish into English, of the words “sail” and “éille”, formed into the word “sail-éille”. Sail means (among other things) a cudgel and éille means a thong or strap. So together it means “thonged cudgel” or “a cudgel with a thong”. It’s an English myth that the word comes from a forest in Wicklow. Actually, both terms are found in Dineen’s Irish Dictionary and Thesaurus, the bible of the Irish language. The thong on the cudgel was used like the sword knot is used on broadswords and sabres; if you lost your grip on it, it would still be dangling from your wrist. But today even though “Bataireacht” means just stick-fighting in general, it has become a catchall or slang used by people practicing Irish stick-fighting for any style of specifically Irish stick-fighting. And in a similar way a very long time ago “Sail-éille” became a catchall to describe the various kinds of Irish fighting sticks. So as for the relationship between the two you could look at it as saying “I practice bataireacht with a shillelagh”.     Factions and Violence:   In the 18th century, bataireacht became associated with Irish gangs known as factions. Could you elaborate on how faction fighting shaped the practice of bataireacht?   Well, the competition for success between factions seems to have caused the bar for stick-fighting to be raised high. It was also looked upon as a kind of gladiatorial fighting so in one “match” people would want to see two guys (or factions) trained in the same style of stick-fighting compete against each other to see who was the best in a fair and equal fight. But in another situation, they might have liked to see people from different styles (and people using other weapons like swords or scythes), compete against each other to see how each style or weapon stood up against one another. Could a man with a three-foot stick beat a man armed with a scythe? Could a man armed with a five-foot-long stick beat a man armed with two sticks? That sort of thing. It was a constant “arms race” so to speak. Macdonald, Daniel. The Fighter . 1844 Class and Political Overtones:   How did class and political issues influence the faction fights and the practice of bataireacht, as seen in historical accounts?   Well, conditions varied around the country so in Ulster, for example, it was common to see fights between Catholic secret societies like Ribbonmen and Protestant secret societies like the Orange Order. So there you have a combination of everything - political, religious, and class issues all rolled into one. In Munster, there were long-standing family feuds among Gaelic Catholics over control of land which translated into economic power. Within that, there were further societal schisms or fractures based on class: the common farm laborers like the Spailpíns opposing their employers and their hired hands. So the Caravat-Shanavest feud in the early 1800s, for example, was based on tensions between middle-class Catholic small farmers and the very poor wandering laborers whom they employed. So you could argue that the Caravats were a kind of early labor union fighting for better wages. This is ironic because they started out more or less as a Jacobite secret society. Which is another issue: France’s Irish Brigade was disbanded in 1790. The United Irish Rebellion took place in 1798. The old Irish Brigade families were all loyal to the Catholic Bourbon monarchy whereas the United Irishmen were all influenced by French Republicanism and the Jacobins. It's small wonder then that faction fighting exploded onto the scene in the early 1800s.     Decline and Suppression:   What were the main factors leading to the decline of bataireacht by the turn of the 20th century?   The main factor in its decline was the association of bataireacht with factions and the divisiveness of factionalism. After the horrors of An Gorta Mor, there was this strategy among the people who cared that they needed to get serious about a political revolution and take back the country to ensure policies were in place so that this never happened again. I’m not trying to preach here, I’m just saying that we know historically that this was the case. To achieve that they felt the first step was to put a stop to fighting amongst themselves: give up the old-fashioned shillelagh of the village warriors of your grandfathers and pick up the modern new shiny rifle of the soldiers of Ireland, the “vast hidden legion” they used to call it. The decline of factionism was accelerated by An Gorta Mor, but even before that the efforts of the Catholic Church and finally the efforts of Irish nationalists really convinced people that this old custom of fighting at fairs was doing more harm than good. The cool thing was to become a soldier and it became uncool so to speak, to want to have anything to do with stick-fighting and faction fighting. There is evidence to suggest that in the 1840s, the remnant of the old Shanavest Faction seems to have morphed into a faction in Tipperary calling itself the Fenians, and then not much long after that in the 1850’s you have this militant nationalist group calling itself the Fenians. One of the founders of the Irish Republican Brotherhood (and the guy who coined the term “Fenian”), John O’Mahoney, was born into a wealthy family in Tipp., with a lot of land and he could call on about 1000 tenants to have his “back” if he needed them in a faction fight. So it seems like many stick-fighters were in the early ranks of the Fenian movement and voluntarily ceased including bataireacht into their way of life. They became instead intensely committed to the establishment of an Irish Republic and felt that to do that bataireacht had to be sacrificed.   I mean it did not just stop or end overnight, bataireacht was still being practiced until the 1920s but the Irish War of Independence seems to have put an end to that. And one historian even says that she was approached after a lecture by an Irish guy who said he was involved in a faction fight in the 1960s. I wouldn’t doubt it. But a lot of the spirit and competitive rivalries once associated with faction fights and factions, were absorbed into the GAA team system with its county rivalries in Gaelic Games, especially Hurling. Some modern county colors are the same colors of the largest factions in the pre-GAA era.   Modern Revival: How has bataireacht experienced a resurgence in modern times, and what has driven this renewed interest?   Well in 1995 Glen Doyle who taught me this style, was being interviewed by Inside Kung Fu magazine. During that, he mentioned that his father had gotten him started in martial arts as a kid when he taught him boxing and a family style of Irish stick-fighting.  A guy named John Hurley had already been researching the history of Irish stick-fighting and read that interview and contacted Glen asking him to teach anyone, just to make sure it survived because it was such a rare and culturally important thing. And eventually, he did. It took a while to catch on mostly because of the negative stereotypes of stage Irish shilelaghs and “Paddywhackery,” but it just kept growing. In the beginning, it was mostly non-Irish Americans who were open to it but the more people in Ireland see it the more they get it. The Doyle style is pretty amazing. It speaks for itself. Family Traditions: Can you discuss the importance of family traditions in the preservation of bataireacht styles, such as the rince an bhata uisce bheatha? Preservation of the family system is what we are about. The importance of that tradition is passed down from student to student. Our forms are not public knowledge as was the traditional stick fighter's way of teaching. Yes, we use forms, but we call them dances or Rhince (rinka). This is the traditional way of teaching as in Asian martial arts, where it's done to assist the student in remembering techniques. We have a set of rules called the 10 commandments, which is passed to every student in their grading books, and this outlines how we fight. Traditionally each school would be called a hedge school, and each school is a faction under their instructor. The factions are given names for some animals such as mine the fighting hares, others would be named directly after their family. I currently run a hedge school from my house which is taught in the traditional way. And each faction student instructor coach is vehemently proud of their heritage and the link to the Doyle family.       Global Practice:   How has Irish stick fighting gained popularity outside of Ireland, especially in North America, and what appeals to international practitioners?   Well, the revival of it started in North America so it actually gained popularity there first and then made its way back to Ireland really because of Glen Doyle. I think what appeals to people is that the Doyle family style is just really practical. You try it and immediately see how effective and no-nonsense it is. Most Asian martial arts are or were meant to be forms of moving meditation and in the West things like fencing and boxing became sports. So, with the Doyle style you have something truly unique as it's something that comes directly from faction fighting, isn’t a sport, and isn’t a Zen kind of thing. There’s nothing wrong with any of those but the Doyle style is definitely different from most martial arts that people have encountered before. Currently, we are growing substantially throughout the US, Ireland, and Europe, and even have a school called the Macedonia faction in Egypt.  We will continue to grow primarily because of the directness and versatility of the system and the fact that we are a family and that everybody's viewed as a member of that family.  I currently run a coaching course once a year in Ireland for people who want to learn intensively, and this is proving to be very popular.       Reconstructed Styles: What is the role of historical research in reconstructing traditional bataireacht styles, and how do modern practitioners use historical manuals and other sources to revive these techniques? Well, there’s the living style, the reconstructed styles, and then something in the middle where people have taken 10 minutes' worth of “living” techniques from an incomplete style and then tried to reconstruct its missing elements. Since the start of this revival, there’s been a lot of heated debate over whether or not there should be a clear delineation between a living style (like the Doyle family style) and something reconstructed. There are people who want to mix styles and add things that can’t be verified as being real… So, it’s very useful and interesting and fun to research and try to figure things out. It gives you a bigger picture of how people were doing things. But it would be another thing altogether and very very dangerous for example, to say to someone “Here’s my reconstructed style, and by the way you can use this to defend yourself.” That could potentially get someone killed as it’s all purely theoretical. And that’s still a big point of contention among people practicing Irish stick-fighting today. The reconstructed stuff is more in the way of sport and testing and experimentation and there’s absolutely nothing wrong with that. But I think anyone would agree that that’s very different from a learning style like the Doyle style that takes 2 or 3 years to really learn and master. The Doyle system is a devastating two-handed system using the Shillelagh to shut down and destroy your opponent as quickly as possible. It's based on the pugilistic style of fighting where we punch with the stick, in quick succession or a “fury “of punches to end the confrontation. The style is very quick as it is designed for multiple opponents. As you can see from the pictures not only is it punching but it's also locking or trapping the opponent. Not in the traditional FMA form but in the more direct and controlling method. The system is very destructive as it is in its original form and has not been tampered with over the generations. It deals primarily with” learning on the job,” meaning techniques were developed in actual fighting and these would be added to the system so if something worked it would be used. It's fast and is designed for multiple opponents and our Motto is “ever forward,” meaning we keep going forward into the fight to finish the conflict as quickly as possible. Age is not an issue, in fact, we encourage students of all ages and all backgrounds.

What Is the Ultimate Weapon? Counting Down the World’s Most Dangerous Martial Arts Weapons When martial artists debate the “ultimate weapon,” the answer depends less on mythology and more on function . For this article, effectiveness isn’t about romance or tradition — it’s about what works when lives are on the line. To determine which weapon deserves the title, we evaluated each through three critical lenses: The Criteria Portability  – Can the weapon be easily carried, concealed, or deployed without preparation? Single-Strike Effectiveness  – How much damage can the weapon inflict in one decisive strike? Track Record  – Has the weapon proven itself historically in combat, warfare, or law enforcement? With that framework in place, let’s examine the contenders. Here is our list counting 10 to #1 #10 The Three-Sectional Staff Portability:  Low Single-Strike Effectiveness:  High Track Record:  Moderate Few weapons look as intimidating or as chaotic as the three-sectional staff. Consisting of three wooden or metal rods connected by chains or rope, this traditional Chinese weapon combines the reach of a staff with the unpredictability of a flexible weapon. In skilled hands, the three-sectional staff delivers crushing blunt-force trauma, rapid angular strikes, and the ability to entangle limbs or weapons. A single clean strike can break bones or incapacitate an opponent instantly. But that power comes at a cost. The weapon has one of the steepest learning curves in martial arts, and improper use can be as dangerous to the wielder as the target. Its length and segmented design make it difficult to conceal and slow to deploy in confined spaces. Historically, the three-sectional staff saw limited battlefield use, functioning more as a specialist weapon than a standard issue arm. Verdict:  Fearsome, flashy, and devastating — but unforgiving and impractical outside expert hands. Ranking #9 The Horse Cutter Portability:  Very Low Single-Strike Effectiveness:  Extreme Track Record:  Battlefield Proven This weapon is pure battlefield terror: a long staff capped with a massive, razor-sharp blade capable of disabling mounted warriors and their horses with a single strike. There is no question about its lethality. One successful swing can be instantly fatal. However, that power comes at a cost. The horse cutter requires exceptional strength, conditioning, and skill, and it is entirely impractical outside of warfare. Verdict:  One of the deadliest weapons ever created but too specialized for everyday dominance. Ranking: #8 The Bo Portability:  Low Single-Strike Effectiveness:  High Track Record:  Exceptional Few weapons are as universally recognized as the bo staff. Appearing in Chinese, Japanese, Korean, Filipino, European, and African martial traditions, the bo may be one of the oldest weapons on Earth. Its simplicity is its genius: leverage, reach, and power. A skilled practitioner can generate devastating blunt-force trauma capable of breaking bones, crushing joints, or delivering fatal head strikes all without a blade. However, portability works against it. At four to six feet long, the bo is impossible to conceal and impractical outside of open environments. Despite its legendary history and battlefield effectiveness, its size limits its real-world deployment. Verdict:  A foundational weapon of martial arts powerful, but not discreet. Ranking: #7 The Nunchaku Portability:  Moderate Single-Strike Effectiveness:  Moderate to High Track Record:  Limited Popularized worldwide in the 1970s by Bruce Lee, the nunchaku origin has been argued as Okinawan, Chinese and even Filipino, despite this, there is no argument that the weapon, is flexible and it's design allows for incredible speed, angular attacks, and rapid transitions between offense and defense. At high levels, nunchaku strikes can cause concussive trauma, bone fractures, and joint damage. But that power comes with a steep learning curve. In untrained hands, the weapon is as dangerous to the user as the opponent. Historically, its combat record is limited compared to other weapons on this list. While flashy and versatile, it lacks widespread battlefield validation. Verdict:  Athough devastating in expert hands the nunchaku is problematic and due to it being illegal in many area countries it's ability to be carried lawfully creates issues. Ranking: #6 The Katana (Straight Sword) Portability:  Low Single-Strike Effectiveness:  Extreme Track Record:  Iconic The katana represents the pinnacle of bladed craftsmanship and martial discipline. Designed for decisive, lethal cuts, it is capable of ending combat in a single motion. Historically, it was a weapon of war and status deadly in trained hands, but requiring years of dedication. Its size and visibility limit portability, but its cutting efficiency is unquestioned. Verdict:  A masterpiece of martial lethality powerful, but specialized. Ranking: #5 The Chinese Butterfly Sword Portability:  High Single-Strike Effectiveness:  High Track Record:  Strong Not to be confused with the Filipino balisong, Chinese butterfly knives are wide-bladed, heavy knives traditionally used in Southern Chinese martial arts like Wing Chun. Their design mirrors empty-hand techniques, allowing practitioners to translate blocking, trapping, and striking directly into blade work. Their real strength lies in speed and familiarity. Because movements closely resemble empty-hand combat, the learning curve is shorter, and deployment is instinctive. While the blade length is modest, the cutting power is significant. In skilled hands, these knives are surgical, fast, and relentless. Verdict:  A natural extension of empty-hand combat fast, lethal, and efficient. Ranking: #4 The Tonfa Portability:  Moderate Single-Strike Effectiveness:   High Track Record:  Exceptional The tonfa bridges ancient martial arts and modern law enforcement. Originally an Okinawan farming tool, it evolved into the police baton due to its ability to control, strike, block, and restrain. Its handle allows rotational strikes that amplify power while maintaining close-range control. Unlike bladed weapons, the tonfa can disable without killing — yet remains fully capable of delivering devastating blows. Its continued adoption by law enforcement worldwide is the strongest endorsement of its effectiveness. Verdict:  Practical, versatile, and time-tested. Ranking: #3 The Kama Portability:  High Single-Strike Effectiveness:  Very High Track Record:  Strong Originally a farming implement, the kama evolved into one of Okinawan martial arts’ most feared weapons. Its curved blade excels at slashing, hooking, and tearing, making it brutally efficient at close range. The kama’s biggest advantage is accessibility. It requires less training than many traditional weapons to be dangerous, deploys quickly, and delivers lethal results with minimal effort. A single successful strike can sever tendons, arteries, or muscle groups. Its design has appeared across cultures in various sickles and curved blades proof that it works. Verdict:  Compact, fast, and viciously effective. Ranking: #2 The Filipino Escrima Stick Portability:  High Single-Strike Effectiveness:  High Track Record:  Legendary Often underestimated because it lacks a blade, the escrima stick may be one of the most battle-proven weapons in history. Made from dense rattan, it can shatter bones, crush hands, and deliver fatal head strikes even against bladed weapons. Its effectiveness is undeniable. Escrima techniques are designed around real combat, not sport. The weapon’s simplicity allows for rapid mastery, and its adaptability makes it viable in virtually any environment. Historically, the escrima stick has proven lethal — famously used to defeat armored invaders in close combat. Verdict:  Simple, indestructible, and brutally effective. #1 — The Fixed Blade Knife Portability:  Exceptional Single-Strike Effectiveness:  Extreme Track Record:  Universal No weapon on this list is as accessible, concealable, and immediately dangerous as a knife whether a fixed blade or a simple pocket knife.Across cultures and centuries, knives have been the weapon of choice for warriors, soldiers, and civilians alike. While they exist in countless variations of size and style, all share the same elemental design: a blade and a handle nothing more, nothing wasted. Unlike complex weapons that demand years of training, a knife requires minimal instruction to be lethal. One decisive strike can sever arteries, puncture vital organs, or end a confrontation in seconds. In close quarters, there is no equal. Its simplicity is not a limitation — it is the source of its dominance. Verdict:  Small, fast, and terrifyingly effective. Ranking: #1 Final Thought The “ultimate weapon” list isn’t just about tradition or fear factor. It’s about what works most reliably, with the least effort, in the most situations. Depending on how heavily you weigh portability versus raw destructive power, the answer may surprise you and that’s exactly what makes this debate timeless.

The December 1996 cover featured Chuck Norris donning his iconic all-black gi. Developed from his military training in Korea, Norris’ Universal Fighting System fused karate, jujutsu, and tang soo do into a practical, no-nonsense approach to self-defense—one that continues to impact thousands of practitioners today. Inside the cover story, Chuck walks readers through elements of the art form, demonstrating real-world applications alongside his students. You can read more about this in the full digital magazine by going to the e-magazine section, searching 1990s, and clicking on the cover.

Two PFL World Title Fights headline a stacked card in Dubai Sports Council-backed event featuring elite global talent across 13 bouts The Professional Fighters League (PFL) today announced the full fight card for PFL Road to Dubai , set to take place in coordination with the Dubai Sports Council and live from Coca-Cola Arena on Saturday, February 7, 2026, marking the third blockbuster PFL event in Dubai. The event will be headlined by PFL Lightweight World Champion Usman Nurmagomedov  (20-0-0, 1 NC), who returns to Dubai to defend his title against 2025 PFL Lightweight World Tournament Champion Alfie Davis  (20-5-1). In the co-main event, the last man to hold the Bellator Welterweight title Ramazan Kuramagomedov  (13-0) faces 2024 PFL Welterweight World Tournament Champion Shamil Musaev (20-0-1) in a five-round bout for the PFL Welterweight World Championship, completing a championship double-header at the top of the card. The highly anticipated card will be the latest as part of a cooperation agreement between the Dubai Sports Council, the Dubai Department of Economy and Tourism (DET) and PFL, further underlining the city’s reputation as a host destination for world-class sporting events, and a hub for MMA. PFL Road to Dubai  will be available in the U.S. on the ESPN App for fans with access to the ESPN Unlimited plan. The preliminary card begins at 9 a.m. ET (6 p.m. local time in Dubai), followed by the main card at 12 p.m. ET (9 p.m. local time in Dubai). In addition to the championship bouts, the main card features three compelling matchups, including the return of former PFL Featherweight World Tournament Champion Jesus Pinedo (25-7-1), who faces unbeaten rising contender Salamat Isbulaev (9-0). Welterweight contenders collide as Magomed Umalatov (18-1) meets France’s Abdoul Abdouraguimov (19-1), while Heavyweight action sees Pouya Rahmani (5-0) square off against American standout Karl Williams  (10-4). The preliminary card delivers further international intrigue, as undefeated Amru Magomedov  (9-0) takes on Kolton Englund  (15-4), and France’s Amin Ayoub  (24-6-1) battles Makkasharip Zaynukov  (18-4). Bantamweights Taylor Lapilus  (23-4) and  Kasum Kasumov  (16-2) collide at 135-pounds, alongside a Featherweight contest pitting Renat Khavalov  (10-0) against Edgars Skrivers (17-4).  In Women’s Flyweight action,  Denise Kielholtz  (8-5) faces Brazil’s Antonia Silvaneide (9-4), while Light Heavyweight bouts see  Luke Trainer  (9-1) meet Australia’s Rob Wilkinson  (19-4), and undefeated  Khabib Nabiev (11-0) take on Ahmed Sami (12-4). Opening the night, middleweights  Haider Khan  (10-1) and Jhony Gregory  (8-5) set the tone for an action-packed evening in Dubai.   Completed PFL Road To Dubai Main Card: Coca-Cola Arena, Dubai, UAE Saturday February 7 - 12 p.m. ET ESPN App (U.S.) | Starzplay (MENA) PFL Lightweight World Title Main Event:  C- Usman Nurmagomedov  (20-0-0, 1 NC) vs. Alfie Davis  (20-5-1) PFL Welterweight World Title Main Co-Main Event: Ramazan Kuramagomedov  (13-0) vs. Shamil Musaev  (20-0-1) Featherweight Main Card Bout: Jesus Pinedo  (25-7-1) vs. Salamat Isbulaev  (9-0) Welterweight Main Card Bout:   Magomed Umalatov  (18-1) vs. Abdoul Abdouraguimov (19-1) Heavyweight Main Card Bout:   Pouya Rahmani  (5-0) vs. Karl Williams  (10-4) PFL Road To Dubai  Preliminary Card: Saturday February 7 - 9 a.m. ET ESPN App (U.S.) | Starzplay (MENA) Lightweight Bout: Amru Magomedov  (9-0) vs. Kolton Englund (15-4) Bantamweight Bout:   Taylor Lapilus  (23-4) vs. Kasum Kasumov  (16-2) Featherweight Bout:   Renat Khavalov  (10-0) vs. Edgars Skrivers  (17-4) Lightweight Bout: Amin Ayoub  (24-6-1) vs. Makkasharip Zaynukov  (18-4) Women’s Flyweight Bout:   Denise Kielholtz  (8-5) vs. Antonia Silvaneide  (9-4) Light Heavyweight Bout:   Luke Trainer  (9-1) vs. Rob Wilkinson  (19-4) Light Heavyweight Bout:   Khabib Nabiev  (11-0) vs.  Ahmed Sami (12-4) Middleweight Bout:   Haider Khan  (10-1) vs. Jhony Gregory (8-5)

For Isi Fitikefu, the moment he learned he hadn't been selected for the Toyota Cup felt like the end of the world, the death of a dream he'd been chasing since childhood, and the crushing realization that the future he'd imagined playing in Australia's National Rugby League would never materialize.  The Tongan-Australian hopeful was lost, directionless, and unsure what came next when the only path he had ever envisioned suddenly disappeared. But today, the 33-year-old stands as one of ONE Championship's most promising welterweights, preparing to face undefeated American star Chase Mann at ONE Fight Night 39 in U.S. primetime from Bangkok’s Lumpinee Stadium on Friday, January 23. The journey from rugby heartbreak to MMA success proves that sometimes life's greatest disappointments are simply redirections toward your true purpose. The devastation was immediate and overwhelming. In Australia, rugby league isn't just a sport. It's a cultural institution. For Fitikefu, growing up in that environment, there had never been a Plan B. "After I got cut from getting selected for the Toyota Cup, I just didn't know what to do. Instead of me going trialing for other clubs, I just thought that was it for me," Fitikefu recalled, his words capturing the paralysis that comes when your entire identity is built around a dream that suddenly vanishes. The rejection wasn't just about losing an opportunity. Instead, it felt like he was losing a big piece of himself. Everything he'd worked for, every sacrifice made, and every hour spent training and competing seemed suddenly meaningless.  The future he'd imagined disappeared in an instant, replaced by confusion and the crushing weight of failure. "When you're growing up as a kid, all you think about is being a rugby league player because that's all you're around. Then when you get told that you didn't get selected this year, it's like a punch in the face," he shared, the boxing metaphor unintentionally foreshadowing the path that would eventually save him. For many athletes, this moment becomes the beginning of a downward spiral. Fitikefu's story took a different turn. Though he couldn't see it at the time, that crushing rejection was actually the beginning of something better – a journey toward a sport where his attributes would find their perfect home. The transition to martial arts and eventually MMA wasn't immediate or obvious. It required time to process the disappointment, courage to try something new, and the humility to start over as a beginner in an entirely different sport. But once Fitikefu discovered martial arts, something clicked. Training at Gracie Jiu-Jitsu Smeaton Grange in Sydney, the former rugby player began transforming into a complete martial artist. The physicality he'd developed in rugby translated well to MMA, but what he discovered went far deeper than athletic performance. "I think I needed to take this path. I'm happy where I am now, mentally and physically. It's not just being an elite athlete, but I feel like martial arts has changed my mind, my mentality, and my perspective on life. Like, learning to back yourself and not quit," Fitikefu reflected, revealing the personal growth that makes his story about more than just changing sports. Fitikefu’s story resonates far beyond martial arts because it speaks to anyone who has faced rejection, failure, or the death of a long-held dream.

Editor's Note: Did you miss the Spring 2025 issue of Black Belt ? Here's a look at one of the stories that ran in the special issue. Even better, you can check out the WHOLE issue with Black Belt Plus ! 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. What were some of the biggest challenges you faced in your journey as a martial artist and instructor? After finishing my studies at USC (I majored in biological sciences and completed a 4-year writing and literature honors program), I dedicated myself to training. At that time I had two major obstacles: poverty and health issues. I lived in a tiny camper trailer in a parking lot of a dog and cat hospital near downtown LA for five years so I could train constantly. I lived there without having to pay rent in an exchange for watching over the facility at night. I made enough money doing odd jobs to pay for my training, food, and transportation. It was not easy living in an area where drive-by shootings literally happened across the street and where I sometimes found bullets in the parking lot next to my beater vehicle. Add to that severe recurring digestive problems (which was later diagnosed as ulcerative colitis) and you can imagine that I went through some very difficult times. Not to mention dealing with bouts of profound depression. But the incredible privilege of getting to train with Guro Dan Inosanto in all 18 of his weekly classes got me through those tough times. His positive energy and generosity rubbed off on me so that I could find joy and gratitude, even in my dire living conditions. Your approach emphasizes adaptability and real-world effectiveness. How have you personally evolved as a martial artist over the years? In the early years, I just trained and learned everything I could. I did not make any discernment between what was the entertainment art and the combative martial art. When I started competing, I quickly discovered that there was a big difference between training to impress an audience and training to dominate an opponent who is doing everything he can to dominate you. After a few terrible performances, I started remembering all those times that Guro Dan mentioned the differences between the stage art and the combative art. Because I was getting fight experience, I finally understood that wisdom. I made a decision to focus entirely on the combative art since my main goal in martial arts was ignited by the terrible incident I endured as a nine-year-old. So I pushed the cool “art” portion aside and focused on the “martial”. This is when I went deep into Brazilian jiu-jitsu and no-holds-barred fighting, which was to later be called MMA. The key to functionality is to safely train with a fully resisting opponent. This is not just all out brawling. I think many martial artists avoid sparring because they don’t understand the difference between sparring and fighting. Fighting is doing your best to injure your opponent while sparring is trying your best to “score” on your partner without inflicting any damage at all. We spar in an intelligent manner so that people progress without fear of serious injury, including brain trauma. I employ the principle of progressive resistance so we take a person along slowly with light resistance and only add more resistance when they are comfortable and able to handle it. Over time, I know that these students really have a fighting chance against a street attacker. These experiences all led me to my motto, "pressure test everything!" To be clear, I do enjoy and teach aspects of the arts that are for mind, body, and spirit. These movement arts are very good for total health, which means they are functional in that very important realm! Workshops & Training Approach You’ve spent years sharing your knowledge worldwide. What originally motivated you to teach through books, camps, and courses? My main motivation is to help others enjoy all the benefits that I have received from the martial arts. My quality of life is very high because I love exploring and constantly improving in the various aspects of the arts. This is so gratifying and fulfilling on a day-to-day basis that I want others to be able to feel what I feel.  I’ve had the privilege of training with so many amazing instructors that I have garnered a wide knowledge base that I am constantly expanding. Probably due to the fact that it tends to take me a long time to learn things, I happen to have a knack for teaching and explaining techniques and principles that make it easy for others to learn and progress faster. I’m glad that learning doesn’t come easy for me. This detriment forced me to analyze everything in minute detail so I could understand it. That helps me to pass it along. So it’s the love of the art and the love of watching others progress that makes me happy. As my wife Sarah once noted, “You love transformation. You love to see that transformation in your students and in yourself. That’s why you love teaching so much.”  What do you find most rewarding about teaching martial artists of different backgrounds and experience levels? It is very gratifying to see people become better versions of themselves through training. It’s also fun to coach competitors and see them flourish, whether that be at a local grappling tournament or at a huge professional event like the UFC, ADCC, or ONE Championship. But the most rewarding by far is seeing someone come in to train who is so timid that he she can barely speak to you, but after months of training they gain the confidence to let their true personality shine. That is what I love most. Through the martial arts, we’ve been able to bring out the best in human beings who can then help and inspire others. Your training emphasizes pressure testing and live resistance. How do you structure your programs to ensure students develop both technical skill and functional application? First, you have to make sure the environment is such that the students want to continue training for a long time. So we keep classes, fun and safe while adding that authentic resistance. We constantly work on being precise with our technique, then subject it to pressure testing.  This ensures that each student can better understand how to apply the technique under pressure instead of merely memorizing the moves. That makes their techniques sharper.  I am often asked how long I wait before having a beginner start sparring. They are usually very surprised when I say that brand new students spar their first day. Images of brutal beat downs come to mind, but that is fighting, not sparring. Brand new students who have never trained martial arts at all play the open hand game the first class. This is where we just try to touch the top of our partners head with an open hand so that the new student immediately gets to feel the context of the environment we are working in. I often start having them only use the lead hand to keep it simple. No choreography at all, but just safely playing the game. And it always brings out smiles and laughter in the new students because they get to play. Over time, students who are ready add more tools and eventually move to sparring with helmets and gloves. We use a sparring helmet with a face cage on the front so they don’t have to worry about black eyes and bloody noses. We still regulate the amount of force that they can use as we don’t want heavy blows to the head. Resistance training isn’t all sparring though. For example, we may start in a clinch position, and the directive is for one person to maintain the clinch while the other person tries to get away and make distance. So this isn’t sparring as in a back-and-forth game, but there is a lot of resistance and functional learning that goes on. We use this for weapons defense as well. My favorite saying is “Knowledge is not power. The ability to apply your knowledge, under pressure, is true power.” These games take knowledge and develop it into the ability to apply the knowledge, in other words, skill.  What key skills or techniques do you focus on during your workshops, and how do you tailor them for different levels of experience? Workshops are different than teaching in class. I don’t expect anyone to spar in a workshop or seminar. In a workshop, my goal is to increase each student’s understanding of functional training methodology along with giving them important but often overlooked details of the application of techniques. What I actually teach depends on what the seminar host has requested. I teach general seminars where I go over aspects of many of my programs, and I teach workshops that go very deep into one specific area. These workshops can be as varied as exploring combative street scenarios, silat dance, functional knife defense, or set ups and finishing the north south choke. Like in our classes, the workshops are taught in a fun and open environment. I always encourage questions of any sort and we have a great time diving deep into whatever subject matter we are exploring. Industry Insights & Practical Application Martial arts is constantly evolving. Are there any emerging training trends or techniques that you’re particularly excited about? I’m happy to see that more people are finally recognizing the difference between effective sport training and functional self-defense training. I’m just sorry it took a significant increase in violence for this to become apparent. As functional as combat sports are, each approach evolves for efficiency within their particular rule set. Combatants do not need to account for attacks that are outside of that rule set. But the rule of the street is that there are no rules. We must account for everything, including knives, pistols, clubs, multiple attackers, eye and groin attacks, etc. Most self-defense arts deal with these aspects, but self-defense arts often avoid the all important element of authentic pressure testing, meaning really allowing your partner to totally resist in an un-choreographed manner. But if you take the training methods of combat sports and safely include the street elements, then you are really preparing yourself for functional self-defense. That is what all my For The Street and Battlefield Kali programs emphasize.  Let’s not just memorize the techniques and get reps in; let’s practice applying the techniques against a fully resisting partner in a safe environment. Just as training very well for a combat sport does not guarantee a victory in the cage or on the mat, this kind of self-defense training does not guarantee success against a real life attack. But it will make the defender formidable and give him or her a fighting chance. For martial artists who want to focus on real-world effectiveness, what’s the most important element they should prioritize in their training? For real world effectiveness, I would emphasize two elements. First, you must train against an uncooperative, resisting partner. That’s the only way you will be truly prepared to deal with a violent, 100% resisting attacker. The second element for real world effectiveness is to train with weapons in the mix all the time. When we do kickboxing, clinch, or ground, our students store safe training weapons in their waistbands so that they can pull them out at any moment. You see, we don’t want to recognize that a weapon is in someone’s hand. That is too late. We want to account for the weapon ahead of time in order to position ourselves in a way to stifle the draw or at least recognize when a draw is about to happen.  A quick example: using a Thai boxing neck clinch on someone and throwing knees can be very effective. But I won’t be able to see their hands, meaning I won’t know if the adversary pulls a knife out of his pocket. That could have deadly consequences. Therefore, we prioritize a double biceps tie where we have control over both arms so that we can see and feel if the person puts his hand towards his waist in an attempt to draw a weapon. That way we can try to stifle the draw or at least transition to control that arm before the weapon comes out. Everyone knows that a weapon can come out in a street assault. But knowing is not enough. We must train to expect and account for weapons while under the pressure of a sudden attack. Including inert weapons in a training environment is essential to ensure that each individual is trained to assume there is a weapon coming. With the continued rise of social media and online training, do you see the landscape of martial arts education changing in any ways over the coming years? Yes. I see a day where self-defense classes will use video evidence to show how actual attacks look and examine what may have gone wrong and what things worked well under real life conditions. I’ve been showing real world fight videos at my seminars and classes for well over 20 years. And the students always appreciate that honest perspective. If you don’t know what a real situation looks like, you will not be able to prepare well for it. Most people have gotten their ideas of fighting from films or combat sports. The real thing is much uglier and more violent. I hope that showing footage of actual encounters will be a big change that more and more people will adopt. Burton with BJJ legend Marcelo Garcia in 2006 Training & Personal Growth How do you keep your training fresh and continue to challenge yourself? Simple! Through sparring! To me, sparring is always fun and the moments unique. Having many sparring partners means that new situations and approaches will come up often. This is such a great way to learn and stay sharp. It also keeps you humble because you are constantly reminded that you are not infallible. So if your ego is in check, you can just keep sparring safely in the kickboxing range, in the clinch, on the ground, and with a variety of weapons to keep you sharp. I also enjoy the creativity of solo training, be it moving weapons in the air or doing empty hand spontaneous flows like silat dance. It is a joy to get into the flow state.  Being a student is another way to keep things fresh. Learning someone else’s perspective on moves that you may already “know” is motivating. For example, I have the good fortune of getting to train with my longtime friend Marcelo Garcia‘s school here in Hawaii. I learn important details every single class from him and have a great time doing it. I also take online lessons from high level instructors in various arts. It is such a joy to continue the learning process.   Personally, I think if you get bored doing martial arts, then your horizons are far too narrow. Go train in an art you are unfamiliar with. There is so much to learn! Can you walk us through a typical week of training for you? How do you balance striking, grappling, weapons, and conditioning? I train jiu-jitsu at Marcelo Garcia‘s school here in Hawaii 2 to 3 times a week. I often spar or train with my private students several times per week and I do solo training nearly every day.  I like to walk down to the beach and move the double sticks in the morning. It’s a great way to get the body active. When I train solo at home, I will usually hit equipment with the weapons, do rounds of boxing, kickboxing, self-defense scenarios, and clinching on the BOB dummy. I will spend some time on the wing chun dummy, and also practice movement and particular submissions on a grappling dummy. I pick specific things to work on at home which keeps it very interesting. I’m not just doing the moves to get in reps. I prefer to do fewer repetitions and concentrate on making the techniques more efficient than ever.  Looking Forward Are there any upcoming workshops, events, or projects that martial artists should look out for? I will be going back to SHBJJ Hong Kong to teach later in the year and I am teaching a silat camp in Rhode Island at Gillett’s Mixed Martial Arts gym the last weekend of July. I will teach seminars in Italy in October for my long-time student and friend, (and JKD Unlimited Senior Full Instructor) Augusto Baracco. I am looking at hosting a JKD unlimited camp here in Hawaii at the end of the year. Please check our website and your social media for announcements. What’s the vision for your work in martial arts? Are there any particular goals you’re striving toward in the coming years? My main personal goal is to continue to improve in all areas of combat. That means that I remain a student which in turn means that I can much better relate to my own students.  A big goal of mine is to propagate the Zulu martial arts in the west. I have made four trips to South Africa to train, starting in 1994. The stick fighting, spear and shield fighting, and axe combat are very interesting and incredibly effective. The cultural aspect is fascinating and I think so many people will enjoy training and teaching these arts once I help to make it more available. Every time I’ve taught some aspects of Zulu stick fighting in seminars, I have gotten a great response from the students. I plan to create a network of instructors so that these arts can be appreciated beyond South Africa. My other goal is to educate many more people on the realities of street self-defense. That way, they  will truly understand how important it is to avoid situations. They will also be better equipped to deal with a physical confrontation if necessary. I’d like to finish by giving my sincere thanks to all of my instructors, especially Guro Dan Inosanto. What a role model he is! I also give great thanks to my amazing wife, Sarah, and to my daughter Talina for being great supporters, training partners, and inspiring me to be my best. And a special thanks to all my students across the globe who inspire me by their examples of constant improvement and their passion for martial arts training. Come to Hawaii and train!

Editor's Note: Did you miss the Spring 2025 issue of Black Belt ? Here's a look at one of the stories that ran in the special issue. Even better, you can check out the WHOLE issue with Black Belt Plus ! Honoring Bruce Lee’s Legacy Bruce Lee remains one of the most influential figures in martial arts history. His genius, charisma, and philosophy changed the way we think about combat and personal development. But Bruce wasn’t just a martial artist—he was a pioneer. He challenged convention, questioned assumptions, and emphasized growth and adaptability. Yet, the JKD community often struggles under the weight of his legacy. Some focus on preserving his exact techniques, while others emphasize evolving the art. This has led to divisions, but it’s important to remember that Bruce Lee’s vision was never about rigid boundaries. He taught us to adapt, to remain fluid, and to find our own path. To truly honor his memory, we must step out of his shadow—not by forgetting him, but by living his philosophy of honest self-expression. What do you see as the biggest challenge currently facing the JKD community? One of the biggest challenges facing the JKD community today is fragmentation. Different camps have formed—some dedicated to preserving Bruce Lee’s exact techniques, while others push for continuous evolution. However, the real challenge isn’t the diversity of perspectives—it’s the lack of unity, collaboration, and shared purpose. Instead of debating who is right, we should be asking: How do we keep JKD alive, relevant, and evolving while honoring its foundation? Another major challenge is stagnation. JKD is not a historical artifact, it is a living, breathing process of self-discovery. I do not believe that Bruce Lee wanted his teachings to become rigid—JKD is about adaptability, effectiveness, and honest self-expression. To keep the art vibrant, we must break free from both dogma and reckless accumulation, returning to the essence of refinement and growth. Perhaps the greatest challenge we face is negativity. There is too much complaining, criticizing, and condemning. Too often, the focus is on proving who is right instead of approaching the journey with wonder and excitement. JKD is about the process —the path of continuous improvement. Regardless of lineage or beliefs, we all share a responsibility to develop ourselves physically, mentally, and spiritually. The art is about transformation, mastery, and self-discovery. At its core, JKD is a philosophy and a vehicle for self-development, yet much of the discourse today is consumed by arguments over legitimacy and lineage. It’s time to shift our focus. Instead of bickering, we must unite under the principles that Bruce Lee set forth: exploration, personal expression, and the relentless pursuit of mastery. The future of JKD depends not on division but on our ability to elevate one another by sharing thoughts and ideas and carry the art forward as a living tradition. Bruce Lee emphasized adaptability and self-expression. How can today’s practitioners balance staying true to his philosophy while also evolving the art? To honor Bruce Lee, we must embody his philosophy  rather than merely repeat his techniques. Practitioners must focus on principles over forms —adapting to real-world situations, embracing pressure testing, and eliminating unnecessary movements. The balance lies in recognizing that JKD was never meant to be static; Bruce Lee urged us to be like water, to flow, and to find our own way . The key is to understand that Bruce Lee’s philosophy is not about collecting techniques or blindly following a set system—it is about developing the ability to think, feel, and act freely in the moment. However, the real question is not so much about evolving the art, but about the principles and processes that lead to our own evolution. Evolution is of the self, not the art.  JKD is not the end goal—it is the vehicle practitioners use to transform. It is not about changing JKD itself, but about how we engage with it to cultivate our own mastery. To balance tradition with evolution, practitioners should: Master the Foundation  – Before you evolve, you must have a deep understanding of JKD’s core principles— footwork, timing, distance, angles, and body mechanics.  These are essential skills for a simple, direct, and efficient fighter that can adapt in any range of combat. Without this, you are simply adding more techniques without depth. Pressure Test Everything  – Experiment in sparring and real-world application. JKD is only alive when it is tested against resistance. Relax under pressure and relate appropriately to what is actually happening. Refine, Don’t Accumulate  – Don’t chase endless techniques—focus on sharpening the ones that work best for you. JKD is about removing limitations, not adding complexity. Become simple, direct, and efficient. Hack away at the inessentials. Think Beyond Fighting  – Bruce Lee’s philosophy applies to all aspects of life. True self-expression isn’t just about martial arts—it’s about mastering yourself. By staying grounded in JKD’s core principles while continuously refining what works, we keep the art alive and evolving as I believe Bruce Lee intended. The art itself does not need to evolve as much as we do. JKD has often been divided between those who seek to preserve Bruce Lee’s exact techniques and those who believe in constant evolution. How can these differing perspectives find common ground? The common ground is Bruce Lee’s process —not just his techniques, and not just innovation for the sake of innovation. The truth is, both perspectives are necessary. Those who preserve Bruce Lee’s original techniques provide a foundation for understanding how he moved, thought, and trained in that time period. Those who push for evolution ensure that JKD remains relevant in a changing world. One cannot exist without the other. We find common ground by focusing on principles over techniques  and effectiveness over preferences.  If you can make a technique from Bruce Lee’s era work, keep it. If something new enhances effectiveness, test it. The true spirit of JKD is being able to adapt and evolve while staying rooted in what works. The key is mutual respect. We are all part of the same tree—the branches may grow in different directions, but the root remains the same. How can beginners or those from other disciplines effectively transition into studying JKD? Since JKD was designed as a system for advanced martial artists —those who already had a foundation and were looking to transcend stylized limitations and personal belief systems, newcomers should first build strong foundations in timing, footwork, distance, and perception . A structured Foundations Course  that teaches JKD’s principles before techniques  can help beginners develop the right mindset . By gradually integrating sparring, pressure testing, and eliminating excess movements , new students can transition effectively without being overwhelmed. For beginners or martial artists from other systems, the best approach is to build a sound base in striking and grappling foundations.  Edged and Blunt weapons foundations greatly will enhance attribute development and speed up the growth process. Results Oriented Objective: Focus   on improvement, adaption, and self-expression. Start with the Principles:  Learn economy of motion, non-telegraphic striking, interception, deception, distance management, and the ability to change with the changes. Develop Strong Foundations:  Focus on body mechanics, footwork, timing, and build sound striking and grappling fundamentals.  Try not to focus on memorizing complex combinations. Train the Mindset:  JKD isn’t just about fighting—it’s about learning how to analyze, adapt, and improve.  It is about exploration and discovering your limitations and stylized ways of doing things. Experience Sparring Early:  JKD is built on application. Testing techniques under pressure accelerates the learning process.  Develop an ability to be relaxed and ready to relate appropriately to what is actually happening under pressure. Both beginners and advanced martial artists should view JKD as a path to mastery,  rather than just another set of techniques to learn.  With the first and second generations of JKD practitioners aging, what steps should be taken to ensure that Bruce Lee’s teachings and philosophy remain accessible to future generations? JKD must be preserved and passed on in a way that keeps its essence  intact while making it accessible for the modern world. To ensure its survival, we must: Philosophy First Approach:  The Spirit of Jeet Kune Do is that it is the Art of Philosophy in Action.  The self-development and life transforming benefits of self-discovery and honest self-expression are the key to spreading the art to martial artists and non-martial artists alike. Document the Knowledge:  Create comprehensive, well-organized resources that capture both the evolutionary process, philosophy and practical applications of JKD. Modernize the Teaching Methods:  Use digital platforms, video analysis, and online training to supplement in-person instruction. Encourage Open Idea Exchanges:  Foster a collaborative community between different branches of JKD and other Martial Arts to come together and share ideas and principles. Become the Best Practitioners Possible:  The best way to keep JKD alive is for practitioners to embody its philosophy and demonstrate its effectiveness by showcasing their own personal transformations.  Be the physical, mental, and spiritual change we wish to see in the world. JKD’s future depends on leaders who are willing to teach, innovate, and inspire the next generation. What advice do you have for practitioners looking to integrate these elements into their training regimen? Start with Light Contact: Don’t jump into full-contact sparring right away—start slow and build awareness.  Train with those who you trust and can keep you safe. Use Progressive Resistance: Train techniques against increasing levels of resistance to ensure they work in real scenarios.  This requires intelligent role playing and a growth mindset. Focus on Timing, Not Just Technique: Learn how to apply techniques in the right moment, not just in drills.  Develop the ability to relate instead of hitting or not being hit. Test Against Different Opponents: Experiment with different styles, this will expose gaps in your game and force adaptation. Keep an Experimental Mindset: The goal is to learn, not just to win. Treat sparring as a lab for refining your skills.  It is a sandbox for you to play in and truly discover who you are. Sparring and pressure testing are where JKD comes alive. Without them, it’s just theory. What role do you think modern technology—such as online training, virtual coaching, or AI—can play in the future of JKD education? Technology is a tool, not a replacement for real training. That said, it can be a powerful supplement to JKD education: Online Training Platforms:  Can provide structured learning for students worldwide.  Platforms like Zoom allow for a feedback loop.  Feedback is essential. AI and Motion Analysis:  Can break down technique, footwork, and reaction speed for deeper insights.  Use AI to speed up research and analysis. Virtual Coaching:  Can allow top instructors to reach students globally and offer progressive training methods, and feedback.  It is the progressions, regressions, enhancements, and distinctions that speed up the learning curve. Community Building:  Digital spaces can foster discussions, research, and collaboration.  Everyone is looking to belong to something.  A positive place where people can feel safe to experiment and express themselves is essential. The key is using technology to enhance training  rather than relying on it as a substitute.  The ultimate technology is a great teacher who you trust.  Nothing, absolutely nothing, beats in person hands on training.  What practical steps can be taken to foster collaboration among different JKD schools and philosophies? It begins with humility.  Humility fosters openness, which leads to discovery, growth, learning, and ultimately creation. Create Open Training Events:  Gather JKD practitioners from different backgrounds to exchange ideas. Encourage Cross-Training:  Learning from each other strengthens the whole community. Focus on Common Ground:  Instead of arguing over differences, unite around JKD’s core philosophy. Develop a Shared Mission:  JKD’s survival depends on collaboration—not competition. The goal is to keep JKD alive, not to prove who is "right." The Vision for JKD in the Next 10–20 Years What is your vision for JKD in the next 10-20 years, and what do you hope to see from the next generation of practitioners? My vision for Jeet Kune Do (JKD) in the next 10–20 years is about an internal transformation—both in the art and in the individuals practicing it. JKD is not static. It was never meant to be a fixed system or a museum piece. Bruce Lee’s vision was about continual evolution, and that evolution is not just about technique—it’s about the individual.  Man, the living being the creating individual is far more important than any set style or system.  The future of JKD lies in the third and fourth generations of practitioners who must take responsibility for carrying the art forward. These future generations need to deeply understand both the original method and the concepts method, but most importantly, they must be philosophy-driven . At the core of JKD is the philosophy of the Tao—the philosophy of change, transformation, and honest self-expression. JKD is a process of self-liberation, removing limitations, and flowing with what is necessary in the moment. The Path to Mastery For JKD to thrive, practitioners must be committed to personal mastery. This means: Physical Mastery  – Building strong, conditioned, and functional bodies that can adapt to any combat scenario. JKD practitioners should be athletes—people who have pushed their physical limits, sharpened their techniques, and refined their movements. Tactical Mastery  – Developing an understanding of all ranges of combat. A JKD fighter should be too good a boxer for a wrestler, too good a wrestler for a kicker, and too good a kicker for a boxer. They must embody adaptability and fluidity, making it impossible to classify their style. Perceptive Mastery  – The ability to relate appropriately to an opponent in real-time. This means developing a heightened sense of awareness so that you can follow , join , and ultimately intercept  your opponent. True mastery is not just about reacting but about perceiving intent before it manifests, adapting seamlessly, and making the opponent move into their own defeat. JKD is not about imposing force but about merging with the opponent’s movement, blending with their rhythm, and breaking them at the perfect moment. Philosophical Mastery  – Truly living the principles of JKD. This means breaking free from attachment—not clinging to a method, a teacher, or a preference out of fear. It requires humility, an openness to growth, and a commitment to self-exploration.   The Expansion of JKD The next generation of JKD must go beyond just teaching within martial arts circles. The transformational philosophy of JKD needs to reach a broader audience—both martial artists and non-martial artists alike. We must take the philosophy of JKD to the world as a way of being, a way of thinking, and a way of life. To ensure JKD remains relevant and effective, we must maintain three core elements: Sport  – Pressure testing through sparring and combat sport methods to refine skills under stress. Reality  – Staying focused on practical, functional, and effective techniques that work in real-world scenarios. Tradition  – Honoring the roots, the philosophy, and the way of life passed down through generations. The Future of the JKD Community I see a JKD community  that is unified, innovative, and committed to mastery.  A community where: ✔️ JKD is practiced as a living martial art, not a frozen system. ✔️ The next generation is empowered to think, feel, and move freely. ✔️ We return JKD to its rightful place among the world’s elite martial arts. Jeet Kune Do is not just alive—it is thriving.  Now it’s up to us to prove it.

Editor's Note: Did you miss the Spring 2025 issue of Black Belt ? Here's a look at one of the stories that ran in the special issue. Even better, you can check out the WHOLE issue with Black Belt Plus ! Have you ever watched a movie or TV show and thought, I could do that ? For many martial artists, the dream is to take years of dedication and skill and turn it into a career on the big screen. Justin Ortiz and Jewelianna Ramos-Ortiz did just that. After earning NASKA world champion titles, they traveled the globe as two of the most sought-after instructors in the industry and then immersed themselves in the world of Hollywood, learning firsthand what it takes to succeed in action filmmaking.  Now, they’re sharing that knowledge—helping martial artists of all skill levels turn their passion into opportunity. From bright-eyed beginners throwing their first punch to seasoned competitors shaking up the industry, Justin Ortiz and Jewelianna Ramos-Ortiz stand as both mentors and trailblazers, showing the world that martial arts isn’t just a discipline—it’s a gateway to limitless possibilities. The Beginning: A Leap of Faith Justin Ortiz’s martial arts career took off in his early twenties when he realized his passion extended beyond just competing. A pivotal moment came when a life coach, Christina Cooper Foster , recognized his potential and helped him reshape his mindset. Growing up, Ortiz had never considered the vast opportunities available beyond traditional martial arts instruction. Through her guidance, he learned that success was a matter of choice and strategy. Jewlianna Ramos-Ortiz, an accomplished martial artist specializing in forms and weapons, shared a similar drive to push beyond traditional competition. With an extensive background in performance-based martial arts and an unyielding drive in life, she understood the power of combining technique with storytelling, a perspective that would later shape their joint ventures. Building a Brand: Martial Smart and Expanding Influence Their passion for expanded reach led to the creation of Martial Smart, a joint venture born from their unique teaching approach—breaking techniques down to their scientific, historical, and psychological components. The name was inspired by the philosophy of "training smarter," a principle Ortiz’s father instilled in him from a young age. Through Martial Smart, the two combined their expertise to create a dynamic, comprehensive learning experience. Their seminars gained popularity, and soon, they were involved in developing curriculums for martial arts franchises like Premier Martial Arts. This expanded their influence from sport karate to broader martial arts business ventures. Bridging Martial Arts and Film: Action and Stunts Recognizing a gap in the industry, Justin and Jewelianna saw an opportunity to connect martial artists with the film world. With their extensive martial arts backgrounds and growing connections on major film sets—including Marvel productions—they launched ACTION! , a program within Martial Smart designed to help martial artists transition into stunt work. Rather than just position themselves as Hollywood stunt experts, the dynamic pair focus on helping other martial artists leverage their existing skills—such as break falls, acrobatics, and fight choreography—into the world of film. The program quickly evolved, offering training in wire work, parkour, camera awareness, and even audition preparation, giving martial artists a structured pathway into the stunt industry. A Smarter Way to Train At the core of their shared philosophy is the belief that success comes from training smarter, not just harder. Their approach integrates elements of human psychology, physics, and research to optimize performance. Whether coaching a competitor, designing a curriculum, or mentoring an aspiring stunt performer, they focus on maximizing each individual’s strengths in the most efficient way possible. Their journey—from young athletes questioning their next step to globally recognized instructors and industry innovators—is a story of success. They’re living proof that with the right mindset, strategy, and adaptability, martial artists can build lasting careers both in and beyond the dojo. The Martial Arts Origin Story Jewelianna Ramos-Ortiz: I started when I was 3 years old. My parents were my instructors. All my uncles had karate schools. I came up in the Jhoon Rhee taekwondo system. And so we had kind of that open flare which took you in a lot of directions.  Now, when I was five years old and got into kindergarten, there was that kindergarten peer pressure where all the kids were like, "Ew, karate's for boys. You can't do karate. You have to do dance and gymnastics and cheerleading and all this other stuff."  And so I did. I stopped doing karate and I started to do all these other things and I was good at them.  Why? Because I had the body awareness that the martial arts had started teaching me already, but I didn't love it. I wasn't passionate about it. When I was eight years old, my dad said that he was going to open up another karate school and [asked] if I wanted to go train with him at my uncle's. Jewelianna Ramos-Ortiz and Justin Ortiz stand with martial arts legend Chuck Norris And I remember just jumping for joy and being like, "Yes, yes, yes." And so we went that Saturday morning to class and it was history. I remember that day so vividly. I can remember what it smells like, what it felt like, and getting my first stripe again, starting over and knowing that this was my passion and that I wanted to do it for the rest of my life. And so, fast forward, like there were some life things that happened.  I was in a really bad car accident when I was 14 or 15. I got a severe back injury from it and I was told that I was never going to walk again, that I was going to need back surgery, yada yada yada. We ended up not going through with the surgery because we found out that we could PT our way around it. And so that made me super hyperfocused on competing. Now I was not just competing for the sake of competing, but I had been revitalized with this passion and purpose of “I'm going to prove them all wrong and do this for me!”   And so that's when I started to really, really go and defend my world titles with fervor. And here we are. Justin Ortiz:  I started similarly, when I was three years old.  As soon as I was walking, I started kicking.  My first ever lesson was when I hit three years old, my dad gave me a white uniform. He took my leg. He put it on top of a couch. He said, "Hold it there. You stay there until I get back." And I don't know where he went, but he was out  of that room.  I just remember, being three years old, that couch felt like the Eiffel Tower to me. And I was just holding it up. I was almost about to cry and then all of a sudden, I hear “don't cry,” and I was like “I won’t!” As soon as he gets back, he takes my other leg. He puts it back. He's like “hold it there,” and he leaves again. [Laughs] [Martial arts] has been in our family. All of my siblings were martial artists as well. My father was a really good fighter. He didn't really have the opportunity to take it as far as I did, and that was because, growing up, we were poor and, living in the projects in Boston. Martial arts was a way to get out, you know. A way to explore the world and see different things that I normally can't see. Being in the streets and, at the same time, getting me away from all of the violence or things that can possibly be in that type of environment. Competition was huge because it opened a lot of doors for me. I got to travel the world. I got to see many things that I thought would never be possible. And there were a lot of times where, of course, I wanted to quit because it was really hard and growing up poor, we didn't have the funds. I had to raise a lot of funds on my own. I did the pancake drives.I was selling candy. That was the only thing that I learned from the streets, how to sell. You know what I'm saying? [laugh] But I was selling the candy and selling anything I can to buy my ticket to my way over to these places and compete. Then when I was like 15, I started being recognized and I won my first world championship at the US Open, ISKA World title, won it in forms, fighting, and continuous fighting.  From there, it just kept going and people started recognizing me and I started getting sponsorships and getting on sponsored teams. One sponsorship led to another. I thank God every day for those sponsorships because without them I wouldn't be able to continue my martial arts career because, again, I didn't have the means to do so. One thing led to another and then led me to Team Paul Mitchell. Being on Team Paul Mitchell was a dream come true and opened many many doors from there and many opportunities to do different avenues with my martial arts which then led to us doing stunts and acting which also led me to meeting this woman here [gestures to Jewelianna]. We met at the competition. We met at the Diamond Nationals. We were both competing. Everything in my life has been surrounded and engulfed around martial arts and dedicated around martial arts. So martial arts definitely changed my life. Jewelianna Ramos-Ortiz:  It gave us everything.

Shot in 1987 by photographer Doug Churchill , this cover featured Tadashi Yamashita  at a moment when his influence was especially felt across the American karate landscape. By then, Yamashita wasn’t just known by name—he was known by reputation. Students talked about the intensity of his training, the precision of his movement, and the seriousness with which he approached every aspect of martial arts practice. As a direct student of Gōgen Yamaguchi, Yamashita carried his teacher’s philosophy with him when he came to the United States in the 1960s and ’70s. He challenged American practitioners to look beyond trophies and tournaments and reconnect with the deeper mechanics of the art—how the body moves, how weapons integrate with empty-hand technique, and why discipline matters when no one is watching.

1. Champion Who Defined the Standard Before Hollywood, Chuck Norris was a dominant full-contact karate competitor whose undefeated run set the bar for discipline, professionalism, and what it truly means to be a champion. 2. Founder of a Martial Arts System with Global Reach As the creator of Chun Kuk Do, Norris built more than a style — he built a philosophy. Today, thousands of practitioners worldwide carry forward his emphasis on balance, character, and lifelong growth. 3. Teacher and Career Builder for Martial Artists Norris created leaders, not just fighters. Through mentorship and opportunity, he launched the careers of martial artists who became instructors, stunt professionals, and choreographers — extending his influence far beyond the dojo. 4. The Quiet Architect Behind Iconic Martial Arts Films Through students like Pat Johnson, Norris helped shape how martial arts were portrayed on screen, influencing classics such as The Karate Kid  and Teenage Mutant Ninja Turtles . His impact is embedded in Hollywood’s DNA. Pat Johnson as the referee in The Karate Kid (1984) 5. From Karate Films to Legitimate Action Star Norris proved martial artists could headline major films, evolving from genre karate cinema into a full-fledged action star who stood shoulder-to-shoulder with Stallone and Schwarzenegger. 6. Television Icon Who Brought Martial Arts Home With Walker, Texas Ranger , Norris reached millions weekly, presenting martial arts as a code of honor — restraint, justice, and discipline — not just combat. 7. Influencer Who Expanded the Martial Arts Conversation Long before cross-training was mainstream, Norris helped introduce American audiences to Brazilian Jiu-Jitsu through his support of the Machado Brothers, reshaping how martial artists trained. 8. Exercise Guru and Model for Aging with Power Through fitness advocacy and products like the Total Gym, Norris demonstrated that strength, agility, and mobility are lifelong pursuits — redefining what aging looks like in martial arts. 9. A Cultural Myth Bigger Than the Man At some point, Chuck Norris became legend. The jokes, tall tales, and “Chuck Norris facts” turned him into a global symbol of unstoppable toughness — a rare crossover from reality into folklore. 10. A Living Bridge Between Tradition and Modern Combat From traditional karate to full-contact fighting, film, television, fitness, and grappling, Chuck Norris represents continuity — evolving with the times while preserving martial arts values.

In 1983, Black Belt Magazine  captured a pivotal moment in martial arts history. Its cover featured a young Stephen K. Hayes  alongside Ninja Grandmaster Masaaki Hatsumi , marking Hatsumi’s first visit to the United States. At the time, Hatsumi was 52 years old and already the inheritor of several classical Japanese martial traditions, including Togakure-ryū Ninjutsu . His journey to America was more than a seminar tour—it was the formal introduction of authentic ninjutsu to the Western world. Until then, ninja knowledge outside Japan had been fragmented, mythologized, or entirely fictional. Hatsumi’s arrival represented legitimacy, lineage, and living tradition. Black Belt Magazine  recognized the importance of the moment and documented it in detail, effectively memorializing the entrance of a classical Japanese master into a new cultural landscape. The coverage served as both historical record and cultural bridge, bringing readers face-to-face with a martial art that had long existed in the shadows. What made this moment especially significant was its timing. Just as Hatsumi stepped onto American soil, popular culture was exploding with ninja imagery. Former karate champion and media-savvy martial artist Mike Stone  had helped usher in a new wave of action cinema centered on the mysterious ninja. These films—stylized, dramatic, and highly accessible—rapidly gained worldwide popularity and ignited what would soon be known as the Ninja Craze  of the 1980s. Mike Stone Karate Champion turned media icon introducing the world to Ninja Movies, such as American Ninja 2.  Photo credit: Cannon Releasing Corporation Audiences were suddenly fascinated by black-clad warriors, secret techniques, and ancient Japanese combat arts. Into this climate of curiosity and excitement came Masaaki Hatsumi—not as a Hollywood creation, but as the real thing. The contrast between cinematic fantasy and authentic tradition could not have been more striking, nor more powerful. The convergence of media-driven fascination and genuine martial transmission created a rare historical alignment. While ninja films captured the imagination of the masses, Hatsumi and his students—most notably Stephen K. Hayes—provided substance, depth, and reality. This intersection ensured that ninjutsu in the West would be more than a passing fad; it would become a serious martial discipline with lasting influence. In retrospect, Hatsumi’s first trip to America in 1983 stands as a defining moment—when myth met mastery, and perfect timing allowed an ancient art to step out of the shadows and into history. Find the entire story and digital magazine in the e-magazine section.