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It’s not often that two big-name artists express a willingness to share the spotlight in an article. It’s even less frequent that we see two masters collaborate to create a self-defense system that borrows from each person’s expertise. Because it is so rare, Black Belt  jumped at the chance to corral Dana Abbott and Mark Shuey Sr. — both bona fide weapons experts and Black Belt  Hall of Famers — so the magazine could provide the public with the lowdown on a new system of practical self-defense. The editors chose me to research and write this story because I’ve known both martial artists for quite some time — in Abbott’s case, about three years, and in Shuey’s, more than 20. The Cane Master In the mid-1990s at a tournament in Hawaii, I got my first glimpse of Shuey and his combat cane. He was competing, and I was judging his ring. He seemed a stoic fellow, standing there with his weapon at his side, patiently waiting. When his turn came, he performed flawlessly, demoing a range of ultra-practical cane techniques. I mused at how refreshing it was to watch a skilled black belt wield a weapon with an emphasis on combat rather than flashy maneuvers. Later, I asked Shuey how he made his cane routine look so real. “I just visualize that I’m being attacked and that I’ve got to use life-or-death moves,” he said. “I’m out there breaking bones.” I recount that story because it’s integral to understanding what makes Mark Shuey tick. You see, Shuey developed an entire system based on practical and effective cane fighting. Called American Cane System, it’s propagated through Cane Masters International Association ( canemasters.com ), an entity he founded in 2000. The inspiration for many of the moves that make up ACS come from tang soo do, taekwondo and hapkido, all of which he holds black belts in, as well as various forms of stick fighting. The result is a content-rich eclectic system of cane fighting that includes both linear and circular movements for effectiveness in virtually any self-defense situation. “One-hand and two-hand positioning, close quarters, small circle, fencing — we practice it all because you never know how you’ll be attacked,” Shuey says. “The more you know, the better you’ll be able to win a confrontation.” The Swordsman The first time I saw Abbott in action was at the 2005 Black Belt  Festival of Martial Arts in Los Angeles. He and Frank Shamrock were engaged in a sword-fighting challenge match of sorts using padded weapons. Shamrock gave it his best, but Abbott just toyed with the fish-out-of-water MMA champ. The speed, power and finesse the swordsman displayed left an indelible impression on me. The first time I met Abbott in person was in 2012. We’ve conversed on numerous occasions since then, and I got to spend several days learning his samurai ways while writing “Zero to 60: How Kenjutsu Master Dana Abbott Transformed 3 Martial Artists With Limited Blade Skills Into Efficient Swordsmen!” for the December 2014/January 2015 issue of Black Belt . Abbott has trained in the traditional Japanese sword arts for 40 years. He owns Samurai Sports ( samuraisports.com ), an organization he uses to market his products and services. Much of what he teaches are time-honored bushido tactics and principles that have been passed down in Japan for generations. Such is the background that Abbott contributed to ACS. Tools for Battle Before digging into the meat and potatoes of ACS, it’s worth discussing the system’s weapon of choice. Word to the wise: If you’re going to train for combat with a cane, you’d better make certain you’ve got one that will withstand abuse in the dojo and potentially on the street. “Having an inferior cane can get you hurt,” says Shuey, who produces his own line of weapons. “My canes are at least ½ inch bigger around than most canes. If you hit someone with a chintzy drugstore cane, it’s likely to break. If you whack someone with one of mine, it’s likely to break a bone.” Shuey designs his models with a crook that enables the user to encircle various parts of an opponent’s body — like his arms, legs and neck. “That allows you to use it to crank on someone’s limbs,” he says. Because it can be used to strike as well as to crank, the cane offers a versatility that’s seldom seen in martial arts weaponry. For instance, you can hang onto either end while swinging it, and you also can jab with the tip, apply pressure with the shaft and entangle with the crook. “There are 26 ways to hold one of my canes, offering you a variety of locks, leverages and strikes — including pressure-point strikes,” Shuey says. Holding the cane with one hand lets you strike with more power because you can generate greater speed, which can come in handy if you’re ever facing a thug with a knife, Shuey says. “You can hold the cane behind you with one hand, then instantly swing it up to 200 miles an hour. First, you hit the hand holding the knife, then you smash the head.” In contrast, two-hand grips afford you more control, he says. “You can fight up close, do multiple strikes and even use the crook to rip the skin off an attacker’s neck or other body parts.” Such is the versatility that Shuey brought to this martial partnership. Positioning for Action Interestingly, much of that versatility is of little concern to Abbott when he teaches the ACS curriculum. Like all students of the Japanese sword, he tends to be a minimalist when it comes to technique. It’s why he prefers to adapt the cane to the sword movements he’s burned into muscle memory while keeping the number of variations small. When he wields a cane, Abbott imagines himself with a sword — which is why he always points the weapon at his enemy. As he maneuvers, he can stab at his opponent’s face, neck and chest, or raise the cane overhead before smacking him on the noggin or the hand. Abbott isn’t into cane design; he’s content to leave that to Shuey. Instead, he focuses on grip and positioning. Relax, re-grip, ready position, guard — those four commands are often heard when Abbott teaches ACS. Relax  refers to your state when you’re using the cane as a walking aid or maneuvering it for no particular purpose. You’re normally grasping the crook, Abbott says. Re-grip  refers to the first thing you do when confronting a threat. “Bring both arms down to your sides, loosen your grip on top of the crook and allow your right hand to slide down to where the curve begins,” Abbott says. “Re-grip in this new position.” Ready position  refers to the stance you assume when trouble is unfolding. “Bend your elbows to raise your forearms and the cane,” Abbott says. “Complete the two-hand grip by grasping the shaft with your left hand in front of your right hand, which is close to the crook.” The cane should be held fairly low with the tip aimed at your opponent’s chest. “Guard is your initial line of defense, which establishes your physical perimeter,” Abbott says. “There are two guard positions: the full guard and the half-guard, both of which are executed from the ready position. “In the full guard, your forward arm is parallel to the ground and the tip is pointing toward the aggressor’s throat, keeping him at bay. In the half-guard, your forward arm is bent at the elbow. The half-guard protects your head and shoulders from close-quarters attacks.” In the guard position, you’re poised to attack, defend or maneuver out of harm’s way, Abbott says. Note that you can execute techniques from the ready position, but most are more efficient and effective when done from the guard. Techniques for Combat When using a cane as a sword, Abbott teaches that you have access to techniques that fall into four categories. “A strike is a long-distance tool,” Abbott says. “It’s often done from the upward position, where you lift the cane above your shoulders and bring it downward onto your opponent. Direct strikes can target the head, neck, torso, arms, hands or other boney areas. You can use strikes to hit the attacker or just to keep him out of range. “The jab is for thrusting and stabbing. Target areas are the head, neck, solar plexus and groin. “A rap is a short-distance strike. Speed and power are generated from the center of your body. It strikes or pushes your opponent away. Target areas include the head, neck, torso, arms and hands. “A hook is a short-range tool used like an uppercut — for when someone gets too close or has grabbed you.” It uses the crook to make contact, Abbott says. No matter which of these techniques you use, don’t neglect situational awareness, Shuey says. “Pay attention to your surroundings. Most people who are attacked never see it coming.” If a fight erupts, go all-out, Shuey continues. “When you fight soft, you get hurt. Put out [maximum] effort until the attacker is down and the threat is gone.” Decision Time You’re already an accomplished martial artist. Why should you consider learning ACS for personal defense? The following are among the reasons Shuey suggests: You can carry a cane anywhere. It’s the only weapon you can legally possess on a plane, in a theme park or wherever.  Your cane will always be in your hand and ready to deploy. You never have to pull it out of a pocket or purse.  The cane’s construction enables you to keep an attacker up to 5 feet away — or generate leverage at close range.  With the right training, you can assume a ready position or guard stance with the cane in front of your body, letting the aggressor know he’s facing a martial artist who’s prepared to defend himself. That alone can deter an attack, which, Shuey and Abbott agree, is always preferable to engaging in an actual fight. Photography by Robert Reiff

Here I was, standing in the ring with the greatest karate fighter in history. Not only the greatest karate fighter but also the first heavyweight world-champion kickboxer, I remember thinking. This man had trained with Bruce Lee, performed on The Tonight Show Starring Johnny Carson , even sparred with Muhammad Ali, and here I was about to go three rounds with him. “When the bell rings, should I go out and whack him?” I asked myself. “He’s a legend and he’s over 50 years old — I don’t want to hurt him.” The answer came quickly. The bell sounded, and we both advanced. I noticed that his fighting stance was the same as he’d used in his previous matches. His feet were firmly planted, and he moved with purpose. His right hand was held high, around cheekbone level, and his left hand was positioned near his waist, with his arm at a 90-degree angle. Lewis wasn’t dancing around quite as stealthily as in the YouTube videos I’d watched and the DVDs I’d collected. After all, he was older now, and his sparring strategy had changed slightly. Nevertheless, he was dictating the pace. He was snorting like a bull, but in a rhythmic pattern — as if he were a steam engine, building up energy to finally make that first tug on a long string of railroad cars. Suddenly, my head snapped back. My line of sight, which had been aimed at my opponent’s chest, was racing toward the ceiling. As I refocused on his chest, my mind started working again. I should have blocked with my front hand and countered, I figured. Instead, I’d just gotten nailed with the hardest jab I ever experienced. The punch was lightning fast and possessed the power of a telephone pole being shot out of a cannon, and it had landed squarely on my nose. The switch in my head turned on. This guy may have trained with Bruce Lee and made himself into a legend, I thought, but now I need to hit him hard to keep him from killing me. Such was my introduction to sparring with Joe Lewis. It happened to be my first test while training under him; fortunately, it wasn’t my last. During the many subsequent opportunities I had to work with him before his passing in 2012, I came to realize what a treasure he was. Earning my fifth-, sixth- and seventh-degree black belts from him was an honor and a privilege. MASTER OF ARTS Lewis made fighting sound easy, yet he could take a simple technique like a jab and teach an all-day seminar on its nuances, purposes, variations and history. Often he’d talk and talk, and I’d look at one of my fellow black belts and whisper, “I wish he’d just get to the sparring.” Being a young fighter who regarded sparring as the only way to learn what worked and what didn’t, I sometimes became impatient with what I viewed as overanalysis. Of course, I grew to appreciate the Joe Lewis teaching method. He taught not just lessons for the ring but also lessons for life. Everything he’d learned from his combat tour in Vietnam to the wars he waged in the ring eventually became lessons for those he mentored. When the editor of Black Belt  asked me to winnow all that Lewis had passed to me into an article on the top 10 lessons, I knew it would be challenging. He was such a genius in so many ways that his wisdom could fill a book. However, I vowed to get it done. And as I learned from Lewis, in fighting and in life, there is no “try.” It’s either done or not done. You either win or lose — there’s no gray area. LESSON 1 — FOR LIFE CUM CORDE ET ANIMIS. This Latin verse, which can be found on Lewis’ seal and every black-belt certificate he issued, translates as “with heart and spirit.” Anyone who’s worked with him for more than 60 seconds knows exactly why it’s there. Lewis embodied that notion. He taught all his black belts that we must be intentional about our strategy. We must stand up in the face of adversity, even when the majority wants to head the other way. Lewis preached the importance of executing acts with profound conviction. He believed — and wrote in his training manual — that heart is what you fight to defend and the ego is what you fight to gain. In the many conversations we had, Lewis made it clear that every fighter needs an “attitude technique,” one move that can serve as his or her go-to technique when things aren’t looking good. It should be something that works 99 percent of the time and can change the face of the fight, he’d say, and when you use it, it must be executed with complete conviction and intensity — with heart and spirit. LESSON 2 — FOR THE RING IT ONLY TAKES ONE. Lewis told me more than once that when he competed, he didn’t need an elaborate arsenal. He needed just one technique, and for him, it was the side kick. He agreed with Bruce Lee, who advised us not to fear the man who does 1,000 kicks one time as much as the man who does one kick 1,000 times. This meshes with Lewis’ advice about having an attitude technique. Watching his early fights, you can see that his side kick was unbeatable. In one match, he broke his opponent’s ribs — and then when the guy turned so he could continue fighting, Lewis used the same side kick and reportedly cracked ribs on that side, too. All fighters should develop one technique until it’s unstoppable, Lewis said. Unfortunately, not everyone does because of the time commitment. He made the side kick his attitude technique by following the philosophy of Lee and practicing it up to eight hours a day. LESSON 3 — FOR THE RING RHYTHM IS KING. The man who controls the rhythm wins the match, Lewis would say. He passed along that message in virtually every seminar, touting the importance of head rhythm, body rhythm and foot rhythm. Use head rhythm to fake or feint, he said. Use foot rhythm to draw an opponent in. Use body rhythm to jive and juke, making your opponent fire out of step, after which you counter quickly. Rhythm control must be gained and maintained immediately after the first bell, Lewis taught. As I mentioned in the intro, he even possessed the ability to dictate rhythm using his breath. LESSON 4 — FOR THE RING WHERE THERE’S WEIGHT, THERE’S POWER. Although Lewis’ defensive repertoire included many tools, he always emphasized that you must block in a way that provides the quickest and easiest option for a powerful counter. He’d speak of the need to shift 10 percent of your weight to the front or the rear during a block in preparation for your next technique. That way, you can absorb an incoming blow while minimizing the damage, then immediately shift your weight for the follow-up. Such body shifting not only provides for absorption of energy but also ensures proper balance. Don’t allow an incoming technique to force your feet to reset, Lewis taught. If you have to reset, you can’t immediately fire back with efficiency and power. LESSON 5 — FOR LIFE BE TRUE TO YOURSELF AND YOUR FAMILY. Lewis was known for not sugarcoating things. Whatever he thought, he usually spoke. This could be embarrassing, but often it was profound. He’d always follow those embarrassing moments with that Joe Lewis smile and say, “What’s so funny — what are you laughing at?” He was true to himself regardless of what people thought or the media portrayed. He considered his black belts to be his family. We knew that if we needed him for anything, he’d be there. I remember him telling folks many times to not mess with his black belts, and we respected that. It made us feel good to know that the greatest fighter of all time had our backs. LESSON 6 — FOR THE RING UNDERSTAND THE OPPONENT YOU’RE FACING AND ADJUST YOUR STRATEGY ACCORDINGLY. Whether the action is in the ring or on the street, Lewis advocated separating your adversaries into three categories: those who are more experienced, those who are more powerful and those who are faster. Then, he said, you should break down each one and design a strategy for victory. Within each category are subsets based on whether the opponent’s style is emotional or physical, Lewis said. Physical fighters are easy to detect because they try to dominate with their body instead of their mind. In contrast, emotional fighters act from the heart. They’re more impulsive and unpredictable, and they’re more often in touch with their inner sense of rhythm. LESSON 7 — FOR THE RING FOOTWORK IS IMPORTANT. Lewis taught that there are only two ways to fire a technique: from a position or from movement. For both, footwork is crucial. A voracious student of fight films, Lewis owned a vast library of videos from around the world, including boxing, kickboxing and MMA bouts. He spoke often of how he and Bruce Lee would study films of Muhammad Ali. At many of his seminars, Lewis lectured on how Ali was a master of footwork and movement and, therefore, was able to keep his opponents off-balance. Footwork is a versatile skill set, Lewis would say, because it enables you to accomplish five tasks in a fight: strengthen your position, entrap your opponent, reset, absorb an incoming blow and recover. LESSON 8 — FOR LIFE BEING A GOOD BLACK BELT MEANS BEING A GOOD COACH. Lewis could assess a fighter’s ability quickly, then fine-tune that person’s good attributes even as he improved the weaknesses. Being a black belt under him meant striving to do the same for others — by helping them achieve the same things you’ve achieved. As a world champion, Lewis taught all his students as if they were fighting for the title next week. He wouldn’t try to push his style on everyone. No one could mimic his style perfectly, he said, but they could benefit from what he knew about the fundamentals and therefore improve their fighting functionality in a short time. That’s why people like me would travel many hours just to spend one hour under his guidance. LESSON 9 — FOR THE RING STABILIZE YOUR TARGET. Of paramount importance to martial artists who wish to control the rhythm of the fight and land effective blows is doing what’s necessary to make your target momentarily stable. Lewis spoke often about how Mike Tyson had lost his title to Buster Douglas because Douglas understood the jab and used it effectively to stabilize Tyson. A boxer’s primary stabilization technique is the jab, Lewis said. If you’re a kickboxer or MMA fighter, you also can use a jab side kick or stop-kick, or post a leg or jab as an obstruction. Stabilization enables a fighter to display ring generalship. He or she can stabilize a target with footwork to manipulate distance, either hemming an opponent into a corner or posting the person against the cage. The truth of this Lewis lesson was driven home for me when, after my mentor passed, I decided to test for black belt under Bill “Superfoot” Wallace. That’s when I witnessed the way Wallace would stabilize his opponents with a jab or a jab side kick. In a conversation, he reiterated what Lewis had taught about stabilization being the key to winning. LESSON 10 — FOR LIFE BE PREPARED AND INTENTIONAL. One of the greatest lessons I learned from the legend was to never let an opponent get an advantage over me with regard to physical conditioning. It was part of Lewis’ mantra: Be prepared. I often share this with my students, explaining that I’ve fought in shape and out of shape, and after comparing the two, in shape is far better. Applying this to the world outside the ring is simple: Life is a battle. On a daily basis, we must evaluate our plans, decide if this particular battle is against a southpaw, a croucher or a slugger, and then execute our plan. Lewis advocated having a strategy, being intentional about it and executing it as planned. That will maximize your chance of staying in the fight and finishing strong. Staying in the fight and finishing strong is precisely what Joe Lewis did until the very end. And although he’s no longer with us, his legacy lives on in every black belt he promoted and every martial artist whose life he touched, whether through a seminar, a training manual, a DVD lesson — or a magazine article like this one.

I blame David Carradine, may he rest in peace. If he hadn’t done such a fine job portraying Kwai Chang Caine for three seasons on the Kung Fu  TV series, chances are the Western world — or, at least, America — wouldn’t think that China’s Shaolin Temple is the sole source of Buddhist martial arts in Asia. Back in the mid-1980s, I first heard rumors of a little-known Buddhist fighting art in South Korea. But seeing how that was long before the advent of the Internet, searching for clues proved an arduous task — especially because I was not yet a Black Belt  staffer and therefore had no access to the magazine’s network of contacts. My only option was to fly to South Korea and find out for myself. Once there, I found work as an English teacher and started making connections with local martial artists. Months later, a lead from a martial arts researcher pointed me to a temple called Pomosa (also spelled Beomeosa), where I located a monk who taught a style known as bul mu do , meaning “Buddhist martial way.” I wrote about that encounter in the May 1988 issue of Black Belt . In the ensuing years, I managed to locate a few other temples and hermitages where the Buddhist arts are practiced. I even found a facility in Seoul that teaches a Buddhist martial art called seon mu do  to the public. During a few of those encounters, I was allowed to photograph the monks and students in training. Presented here are some of those images, many of which have never been published. I hope you find them as valuable in your quest to comprehend the vast scope of the Asian martial arts as I did in mine. Life as a Temporary Martial Monk South Korea created its Temple Stay program to help visitors better understand Buddhism. It offers various kinds of practice sessions, such as chanting, sitting meditation and the tea ceremony. Participants strive to find their true self while harmonizing with nature. Since 1992, a temple called Golgulsa has hosted seon mu do  training programs for those who wish to experience Buddhism through one of Korea’s Buddhist martial arts. This is how a typical day in the program unfolded: 4:00 a.m.  Wake-up call  4:30 a.m.  Chanting and sutra reading  5:00 a.m.  Meditation  6:00 a.m.  Jogging or walking 6:50 a.m.  Breakfast  8:30 a.m.  Cleaning temple grounds  9:00 a.m.  Martial arts training  11:00 a.m.  Chanting  11:50 a.m.  Lunch  2:00 p.m.  Work  5:00 p.m.  Break  5:30 p.m.  Dinner  6:00 p.m.  Chanting  7:00 p.m.  Martial arts training  9:00 p.m.  End of the day  9:30 p.m.  Bed Many of the activities have a deeper meaning than their names indicate. For example, food is eaten communally. Known as balwoo gongyang , the practice allows adherents to reflect on themselves and how they have the potential to awaken to a pure life. It’s a form of active Seon (Zen in Japanese) meditation that nurtures the understanding of the need for order, harmony and ultimately respect within the temple. That, in turn, fosters a deeper sense of compassion for the people who’ve made the meal possible. Photography by Robert W. Young

More than half a century after his passing, Morihei Ueshiba (1883–1969) —revered worldwide as O-Sensei —continues to shape the lives of millions of martial artists across the globe . As the visionary founder of Aikido , Ueshiba forged a martial discipline unlike any other: one built not on domination, but on harmony, balance, redirection, and spiritual development . At a time when modern society grapples daily with conflict—both physical and psychological—Ueshiba’s teachings have only grown more relevant , not less. His philosophy offers practitioners a way to resolve confrontation without aggression , to cultivate strength without brutality, and to find power through calm presence. A Martial Art Built for a Modern World Aikido does not rely on brute force. Instead, it teaches practitioners to: Blend with an opponent’s energy Redirect aggression without meeting it head-on Maintain balance—physically, mentally, and emotionally Resolve conflict rather than escalate it In an era defined by stress, violence, and division, these principles resonate deeply. Today, Aikido is practiced in: Military and law enforcement training Corporate leadership and stress management programs Youth development and character-building systems Traditional dojos across more than 140 countries What Ueshiba created was not just a fighting method—it was a blueprint for conflict resolution through awareness and control . From the Dojo to Hollywood Aikido’s influence extends far beyond the mat and into popular culture. Among the many high-profile figures inspired by Ueshiba’s art is Steven Seagal , whose early films brought Aikido’s flowing throws, joint locks, and circular movement to global audiences. Through cinema, millions were introduced to the effectiveness—and elegance—of Ueshiba’s system. Legendary fighters from other disciplines, including Mike Stone , have also acknowledged the initial Aikido principles in his early career. Black Belt Magazine 1988 The Black Belt Connection From its earliest days, Black Belt  Magazine has been a global ambassador of martial arts education. Its founder, Mitoshi Uyehara , trained extensively in Japan and was deeply influenced by the postwar Japanese martial arts movement that Ueshiba helped define. Through Black Belt’s pages, films, and instructional materials, Aikido and Ueshiba’s philosophy reached generations of Western practitioners. Through coverage, historical documentation, and technical instruction, Black Belt helped ensure that Ueshiba’s teachings were not confined to Japan—but became a living, evolving global tradition . Why Ueshiba’s Teachings Matter More Today In a world saturated with competition, confrontation, and online conflict, Aikido offers something rare: Strength without cruelty Victory without domination Defense without hatred Ueshiba believed the true purpose of martial arts was not destruction—but the reconciliation of the world . Today, his art is practiced by: Children learning confidence Adults seeking balance and wellness Professionals managing stress and leadership Martial artists searching for deeper meaning beyond competition Each generation that steps onto the mat keeps that vision alive. An Eternal Legacy in Motion Morihei Ueshiba did not just leave behind a martial art—he left behind a living philosophy , carried forward by millions of practitioners in dojos, film, education, and personal transformation worldwide. More than ever, his message speaks clearly across time: True victory is victory over oneself. And that is why, in today’s uncertain world, Morihei Ueshiba is not just remembered—he is needed.

Dynamic Kicks — The Ultimate Kicking Bible Now Available as an E-Book For the first time ever, the legendary martial arts classic Dynamic Kicks  is now available in digital format for all registered Black Belt  Magazine subscribers—bringing one of the most influential training manuals in martial arts history to a new generation of fighters. For more than 30 years , Dynamic Kicks  has stood as the ultimate guide to kicking technique , earning its reputation as a best seller and a cornerstone of martial arts instruction worldwide. Often referred to as the “kicking bible,”  this iconic book helped launch a generation of elite kickers—many of whom went on to become today’s top action film stars and combat-sports legends, crediting Dynamic Kicks  as a foundational influence in their careers. About the Book Authored by renowned martial artist Chong Lee , Dynamic Kicks  presents a complete, systematic breakdown of kicking mechanics designed to build power, speed, flexibility, balance, and precision . The book illustrates Lee’s proven method for developing perfect kicking technique , applicable across all striking arts. Inside, readers will find: The fundamental mechanics  behind effective kicking 30 separate kicking variations , from basic to advanced Training principles applicable to Taekwondo, karate, kickboxing, and MMA Detailed instruction suitable for beginners through elite competitors The Champion Behind the Method Chong Lee is a celebrated Taekwondo stylist , a respected Thai kickboxing expert , and the 1974 champion of the Long Beach Grand Nationals (Forms Division) —one of the most prestigious martial arts tournaments in the world. His competitive excellence and technical mastery are the foundation of the system presented in Dynamic Kicks . Dynamic Kicks  is also the first volume in a series  of instructional works by Chong Lee, establishing a legacy of technical excellence that continues to shape strikers across multiple disciplines. Why It Still Matters Today Decades after its original release, Dynamic Kicks  remains: A gold standard  for kicking instruction A career-launching resource  for fighters and performers A timeless training manual  that bridges traditional martial arts and modern combat sports Now, with its digital release, this legendary book is more accessible than ever—ready to inspire the next generation of martial artists. You can read this online in digital fomat free simply by regsitering today for Blackbeltmag.com  , hurry before the paywall returns. Its the best seller that changed the world of kicking read by every major star of martial arts to learn the style of kicking that won the Internationals and launched the legend of Chong Lee.

Black Belt is proud to present an in-depth Filipino Weapons Training program  featuring two of the world’s most respected instructors: Ron Balicki  and Diana Lee Inosanto . This powerful instructional video series is now available on BlackBeltMag.com for all registered subscribers , alongside over 1,000 hours of elite-level martial arts training  from top masters across multiple disciplines. Rooted in the combat-tested traditions of Filipino Martial Arts (FMA) , this program delivers practical, efficient, and highly adaptable weapons training designed for real-world application, personal development, and cross-training for all striking and grappling arts. Inside the Training Program Balicki and Inosanto take viewers step-by-step through a comprehensive drill-based learning system , emphasizing timing, coordination, flow, and functional combat skill. The series covers both fundamental and advanced concepts, including: Redondo  – Fluid circular striking for speed and continuity The “X” Pattern  – Dynamic footwork and attack angles The ABC’s (Abecedario)  – The essential striking alphabet of FMA Stick Drills  – Core offensive and defensive movement patterns Hit the Hand / Pass the Hand  – Target control and counter tactics The Cross  – Intercepting and countering incoming attacks Blocking Opponent’s Strikes  – Functional defense under pressure Stripping, Leverage & Manipulation  – Disarms, joint control, and weapon removal Each drill is presented with clarity and purpose, showing not just how  to perform the movements—but why  they work in live combat conditions. The result is a system that builds reflexes, structural integrity, and tactical awareness. Why This Training Matters Filipino weapons training is widely regarded as one of the most complete combat systems in the world , influencing modern self-defense, military training, and mixed martial arts. Under the guidance of Balicki and Inosanto—both lifelong practitioners and educators certified under the legendary Inosanto lineage—this program offers students direct access to authentic methodology taught at the highest level. Unlimited Access for Black Belt Subscribers This featured program is just one part of the expansive digital training library available to registered Black Belt subscribers , which includes: Over 1,000 hours of instructional video World-class teachers across striking, grappling, weapons, and self-defense Rare archival footage and modern combat-sports instruction From traditional martial arts to cutting-edge combat systems, Black Belt’s video vault represents the largest curated digital training collection in the martial arts world .

Diana Lee Inosanto on the cover of Self-Defense for Women, a special publication of Black Belt. The feature celebrated her lifelong dedication to martial arts, self-defense education, and the empowerment of women through practical, real-world training honoring both her personal achievements and the enduring influence of the Lee martial arts legacy. Carrying forward one of the most respected names in martial arts, Diana Lee Inosanto  represents the living bridge between classical tradition and modern expression. The daughter of legendary martial artist Dan Inosanto , longtime training partner and closest student of Bruce Lee , Diana was immersed from childhood in jeet kune do, Filipino martial arts, and multiple combat systems that shaped her into a world-class practitioner and instructor in her own right. Together with her husband, Ron Balicki , she has built a powerful legacy as a teacher—training students across generations in jeet kune do concepts, kali, silat, and self-defense. Which can be seen on Black Belts video instruction section. LINK : https://www.blackbeltmag.com/videos Beyond the dojo, you can see her on screen as she captivated new audiences with her commanding performance as The Sensei  in The Mandalorian portraying Morgan Elsbeth opposite Ahsoka Tano  in the Ahsoka  series, merging real-world combat mastery with cinematic storytelling in a way few performers ever achieve. Diana Lee Inosanto on the set of Ahsoka photo credit via StarWars.com Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

In Japanese, the most common way to politely acknowledge something you’ve been told is wakarimasu : “I understand.” However, this is a word you should never use in the dojo. Chances are good that if you’re reading this, you have at least some kind of intellectual leaning. For you, karate and the other budo aren’t entirely physical. You also want to know about their history and philosophy. You want to grasp them on an intellectual plane, as well as a physical plane. There’s nothing wrong with this. It should be encouraged. I can’t see much of a future for those who have no curiosity about their art or those who don’t want to learn any more than what they might hear their teacher say in the dojo. Wait, you might say. There are plenty of professional ball players who know nothing of the lore of their sport. There are expert plumbers who couldn’t tell you anything about the history of plumbing. True, but budo is not a sport, and it’s not a technical profession. It is, at its fullest, an art. An artist who has no grasp of or appreciation for the past is not much of an artist. The Problem With Intellectualizing There is a serious problem, however, that afflicts those who are intellectually inclined, and it comes when they allow their curiosity, their desire to learn academically, to get out of balance with their commitment to physical effort. Karate, like all budo, is at its core a physical expression of mental volition. It’s realized not through intellectual effort but through action. To forget this, or to minimize it, is to sabotage any effort to master karate as an art. The matter of intellectualizing over physically internalizing is not new or unique to our age. It’s a danger long recognized. In the Asian martial disciplines, we have a legacy handed down to us from two Confucian scholars. Zhu Xi (1130–1200) described the interplay of knowledge and action. He noted that having legs doesn’t allow a person to see, nor does having eyes allow one to walk. Too, knowledge of Something is insufficient for mastering it. One of Zhu Xi’s descendants, Wang Yang-Ming (1472–1529), took this idea further. He postulated that knowing and not being able to actualize that knowing in doing is proof one does not really know at all. “To know and not to act is not yet to know,” Zhu wrote. Wang’s notion should lead to some contemplation, especially for martial artists. If I know what is right, what is moral, what is good, but I do not act on these, then I do not really understand them at all, according to Wang. If we narrow this down to the realm of the dojo, we see that having an intellectual grasp of a front kick is one thing. Being able to do that kick competently is, of course, quite another. “Mouth Warriors” vs. Sincere Students If you’ve been in budo very long, you know a few kuchi bushi, “mouth warriors,” whose lectures and opinions would have you think they're fifth-dan experts at least. These types are certainly examples of those who know but can’t do. However, there are also would-be budoka who don’t want to impress others, who aren’t interested in pontificating and sharing their opinions. They are simply people who really want to understand what they're doing. They are sincere. And so they pose questions: Why do we lift the knee so high when we kick? How important is the snap back? How can I make a high kick as powerful as a low one? The problem isn’t the questions they pose. The problem is they confuse intellectually grasping concepts with the physical ability to realize those concepts. They get things badly out of balance. The student who relies too heavily on his intellectual grasp of karate is apt to believe he’s got it. Unless he can translate that grasp into action, however, he does not. The gap between knowing and doing is apt to become wider unless he addresses this issue — or unless a teacher is there to guide him to a more balanced study. “Do You Understand?” “Do you understand?” is a question a teacher will often ask a student after having given an explanation. I can remember answering this in the affirmative once. “Yes, I understand,” I said. Wakarimasu. “OK,” my teacher said. “Do it.” I could not. My mind knew it, but my body didn't. After trying a couple of times — and failing badly — I felt as stupid as I ever had in the dojo. And that’s saying something. “You understand it up here,” my sensei told me, popping his forefinger against my forehead. “Down here …” — he poked my belly and shook his head. This is why, when discussions of learning come up, one often hears the expression karada de oboeru , “learning with the body.” When you've done something — a kata or a technique — a few times, you'll have some understanding of it. When you've put your body through it a few thousand times, you’ll have a real understanding. I don't know that I have a real understanding of anything in karate in the sense of the word my sensei was indicating. There’s still a long way to go. I have learned, however, that saying “I understand” when my teacher asks is a bad idea.

Photo credited to Chris Willson Photography / TRAVEL67.com The Renaissance Man, Arcenio James Advincula Arcenio James Advincula embarked on the martial path for a reason that was far from unique. Being small in stature and of interracial heritage, the youth was a frequent victim of bullying. After one serious encounter with a group of young thugs, his father hired two former Filipino army scouts to school him in combat judo and escrima. Most styles of escrima emphasize stick fighting, but the soldiers chose a different tactic: They trained young Advincula with tools that would send modern parents running out of the dojo. Specifically, they had the 8-year-old wielding a bayonet and a butcher’s knife. Another unique aspect of Advincula’s martial education pertained to the role of the hands in combat. Many instructors refer to the non-weapon-bearing appendage as the “alive hand” and use it mainly to parry attacks, but Advincula’s teachers called it the “sacrifice hand” in honor of its special purpose in a fight. Yes, it was used for parrying, but it was also subject to being sacrificed to forestall a cut or stab aimed at a vital organ. Martial Artist Advincula joined the U.S. Marine Corps in 1957 and a year later found himself stationed on the “island of karate,” aka Okinawa. On December 1, 1958, he first set foot inside the dojo of the legendary Tatsuo Shimabuku, thus beginning his study of isshin-ryu and kobudo. Shimabuku had created isshin-ryu by combining elements he’d learned from Chotoku Kyan and Choki Motobu, who taught shorin-ryu, with what he gleaned from his time with Chojun Miyagi, founder of goju-ryu. To that mix, Shimabuku added his own innovations and concepts, giving birth to a unique martial art. A quick study, Advincula became one of Shimabuku’s top students. Standing 5 feet 6 inches tall and weighing 150 pounds, Advincula possessed a stature that was similar to that of his isshin-ryu teacher. Kyan, Shimabuku’s most influential sensei, was also very small, but he was renowned for his speed and maneuverability — attributes he strove to pass down to Shimabuku and, by extension, to Advincula. The American also capitalized on the component of Shimabuku’s system that revolved around cultivating power through body mechanics and control, what the old Okinawan masters called chinkuchi . Part of goju-ryu, chinkuchi gives the practitioner the ability to instantly transition from complete relaxation to full-body tension. That enables the student to effect the rigidity needed to penetrate targets, as well as to absorb impacts without sustaining damage. Chinkuchi was the key to Shimabuku’s ability to drive nails into planks with the side of his hands and to Advincula’s ability to easily move people twice his size and 50 years younger with just an open-hand block. Shimabuku began referring to Advincula as Katagwa , or “Kata Man.” Shimabuku selected the nickname because of the depth of his student’s understanding of kata, his knowledge of bunkai and his ability to make the bunkai work. On the surface, a kata is just a string of choreographed movements, but when analyzed under the guidance of a master like Shimabuku, its essential techniques, concepts, strategies and principles are revealed. Many instructors teach kata, techniques and free fighting as separate entities. In contrast, Advincula learned — and subsequently started teaching — the notion that everything comes from kata. From the get-go, he was told what the key elements in the kata were and shown how they could be used in combat. Graphic Artist Advincula played a key role in designing the unique — and controversial — isshin-ryu patch. It incorporated the symbol for the art, the megami goddess, as the centerpiece. In February 1961, Shimabuku approved the design. Unfortunately, the language barrier that stood between Advincula and the patch maker caused the design to be rendered incorrectly. Advincula had sketched it with a vertical fist that featured a thumb on top, just like the isshin-ryu punch, but the patch maker placed the thumb on the side — the way other styles of Okinawan karate teach. Also incorrect was the orange border: The crest was supposed to feature a gold border to symbolize purity and the idea that karate should never be misused. Since the error and its subsequent propagation, Advincula has worked tirelessly to get the right version of the patch out to the public. He said he’s pleased that with every passing year, more martial artists are donning the crest that Shimabuku authorized. Okinawan Ambassador Throughout the years, Advincula has enjoyed an ongoing link to Okinawa. The Marines sent him there repeatedly, civilian life saw him living there on several occasions, his Okinawan wife served as the impetus for making familial visits, and cultural tours have had him guiding groups there for the past 20 years. The resultant training ops gave Advincula a chance to pursue the study of several other Okinawan arts, including shorin-ryu, goju-ryu and uechi-ryu. One style the American picked up on the island and grew to admire was hindiandi kung fu . Originating in Southern China, it’s based on the concept of yin/yang. It uses two-man drills with rapid exchanges of punches, kicks and circular blocks. These moves, along with footwork designed to close the distance quickly and techniques designed to redirect an attacker’s momentum, made hindiandi an effective fighting system in the mind of Advincula. Advincula was so taken with hindiandi that when the San Diego Chargers hired him to train their defensive linemen from 1987 to 1993, he turned to the art. “I got to experiment with them,” he said. “They are at close range and in your face, so you better have your stuff down. Ninety percent of what I taught and used with them was hindiandi.” At age 49, Advincula had his work cut out for him with the Chargers, and it’s not surprising that initially he met with opposition from the players. His response? He devised a lesson that would start with him facing the linemen in a scrimmage, after which a snap was simulated before the full contact ensued. Witnessing the intensity of what had happened to the first lineman, the second player threatened to sue Advincula if the martial artist pulled his arm out of its socket. From that point on, Kata Man had their respect. As they say in the Marines, example is the language all men understand. Military Man Essential to understanding Arcenio Advincula is knowing that he served as a Marine for 24 years of his life. His discipline, work ethic and drive to make techniques work — no matter the conditions — stem from his time in the Corps. “When I graduated from boot camp,” he said, “I was convinced I was the best fighting machine in the world and knew you had to make it work no matter what you are doing, with whatever tools you have on hand.” Those are a few of the lessons that carried Advincula through 1965, the year he first saw combat in Vietnam. Subsequent tours gave him more hands-on experience, which he put to good use when he became a drill instructor in the 1970s. Advincula went out of his way to teach the recruits skills that could save their lives in combat. The karateka retired from the Marines in 1981, having obtained the rank of master sergeant, but he continued to teach the Marines how to fight with blades, as well as how to be successful in hand-to-hand combat. Recognition for his lifelong devotion to teaching Marines came in 2001, when he was acknowledged as a founding father of the revised Marine Corps Martial Arts Program. Advincula was awarded the title of Black Belt Emeritus. Knife Visionary In 1991 renowned knife maker Jim Hammond sought out Advincula in an attempt to create the ultimate combat knife. Designed to Advincula’s specifications, it acquired a name when someone sustained a cut after touching the blade and quipped, “That knife is a real flesh eater!” The description stuck, and the Flesheater quickly became one of Hammond’s bestselling tactical knives. Three years later, James Byron Huggins had the Flesheater playing a pivotal role in his novel The Reckoning . Specifically, the blade is wielded by the book’s main character, a retired Delta Force member, and employed in multiple battles that used Advincula’s knife-fighting system as a frame of reference. For those unfamiliar with the blade-fighting system: Advincula’s knife style is simple yet effective. It primarily uses the hammer grip and emphasizes attacking the opponent’s weapon hand before delivering a technique to end the encounter. Based on the escrima that Advincula began learning as a child, as well as his further studies in the 1960s, it also includes elements of isshin-ryu, making it an eclectic mixture of combat-proven techniques. The Flesheater was picked up by Columbia River Knife & Tool, which began mass-producing it in 2012 under the more politically correct name “FE Model.” The company also offers a plastic version of the knife so enthusiasts can train realistically and safely. Since CRKT started marketing its line of blades — as the FE7, FE9 and FE9 Trainer — Advincula has been in demand to teach the tactics he created to make best use of this unique weapon. Dedicated Teacher For more than 40 years, Advincula has worked the seminar circuit in North America. In 2013 alone, at age 75, the karateka traveled tens of thousands of miles to spread isshin-ryu, kobudo, escrima and military CQC, as well as something that’s near and dear to his heart: Okinawan culture. Back in 1960, an Okinawan newspaper reporter interviewed Tatsuo Shimabuku about the popularity of his style with U.S. Marines. Shimabuku didn’t say that he hoped his students would be the best fighters in the world or that he wished his art would gain popularity in the States. He said he longed for his homeland to be better understood through the practice of karate. “If you want to understand Okinawan martial arts, then understand their culture,” Advincula said. “They have a lot to teach us. Okinawan karate is not about punching, striking and kicking for sport; it’s about learning to defend oneself if needed. It’s about courtesy and getting along with each other and sharing and living.” In 2005 Advincula was recognized for his commitment to spreading Okinawan karate and kobudo when he received an invitation to a government-sponsored event designed to bring attention to the island as the birthplace of those arts. More than 250 senior karate instructors from Okinawa and Japan attended, along with just five foreigners. Advincula, representing the United States and isshin-ryu, spoke about how Shimabuku had taught him almost 50 years earlier that karate was for peace and the transmission of culture. Advincula remains committed to propagating the art of isshin-ryu, as well as the culture from which it sprouted. The 77-year-old still works out with his students, meticulously correcting their moves while wowing them with his speed, power and fluidity and trying to convey the message that karate is about much more than fighting. “If only one [student] listens,” he said, “the effort was worth it.”

This July 2013 issue of Black Belt Magazine  spotlights Colonel Nattapong Buayam , one of the world’s foremost authorities on Muay Thai Kad Chueak  — the ancient “rope-bound fist” fighting art often mislabeled in the West as Muay Boran, though its authentic name is Muay Thai Kad Chueak . With decades devoted to preserving Thailand’s traditional combative heritage, Colonel Buayam offers rare insight into a lineage seldom seen outside Southeast Asia. A seasoned veteran of the Royal Thai Army , Colonel Buayam rose to the rank of Colonel and trained at the prestigious Chulachomklao Royal Military Academy , later completing advanced instruction at the Special Warfare Center’s airborne school. His expertise extends far beyond the battlefield: for more than twenty years, he has trained elite Thai military units in Krabi Krabong , Muay Thai , and battlefield-ready traditional weapons systems. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

What It Is Strictly speaking, san da is a Chinese martial arts amalgam composed of kickboxing, throws and wrestling-style takedowns. What It Isn’t Some writers have referred to san da as “Chinese MMA,” but that’s inaccurate because it normally doesn’t include ground fighting or submissions. Furthermore, in competition, san da fighters are permitted to clinch, but they’re not allowed to hit while doing so. Also What It Isn’t Some people have dubbed san da “Chinese muay Thai,” but that moniker doesn’t do it justice. Why? Because in general, muay Thai stylists rely on just two leg attacks: the roundhouse kick and the push kick. Although other leg strikes exist in Thai boxing, most of the emphasis — and the scoring in the ring — can be attributed to those two moves. In contrast, san da encompasses an arsenal of kicks not unlike what you’d learn in wushu. Unbeknownst to many martial artists in the West, most san da fighters in China earn their chops in wushu. Firsthand Observation When I trained at Shaolin Temple, most of the san da fighters I met had spent two years doing wushu before being allowed to take up san da. Hardcore fighters in the West might scoff at that notion, but wushu is far from a waste of time for them. The training renders the practitioners more flexible and able to kick high and fast. That means the main task that lies before them once they decide to make the leap is learning strategy and gaining ring experience. Emphasized Techniques Just like the money kick in muay Thai is the roundhouse, the money kick in san da is the side kick. But because san da has a whole gamut of kicks to its name, you’ll also see roundhouses, spinning back kicks, front kicks and even ax kicks in competition. Crescent kicks and some of the trickier taekwondo-style maneuvers can appear from time to time, depending on the background of the practitioner. Scoring With Throws The thing that really differentiates san da from muay Thai is the takedowns. San da bouts are scored on points, similar to the way Chinese wrestling is. Traditionally, throws were worth one to four points. Recently, however, the rules have changed, and now the one-point throws — moves in which the thrower goes to the mat with his opponent — no longer score. Platform Fighting In amateur san da bouts, four points are awarded for throwing an opponent off the lei tai platform on which the fighters meet. Things are different in professional matches, though, because the action unfolds in a boxing ring instead of on a platform. That means athletes are prohibited from throwing their adversaries outside the competition area and, therefore, are ineligible to be awarded four points. Rule Structure The regulations under which pro san da stylists compete can vary from fight to fight. Some matches take place under ge do rules, which means “every way.” Knee strikes, elbow strikes and even grappling may be allowed in such contests. Firsthand Experience While attending Shanghai University of Sport, I took a course titled San Da Ge Do. I found the subject matter very similar to MMA in that the coaches allowed submissions and chokes. Occasionally, professional fights operate under rules permitting these techniques, but they usually don't — which has caused some insiders to argue for the creation of a unified set of regulations. Evidence of Vagueness In China, everyone who competes in san da ge do agrees that you can't fight on the ground too long, but no one seems to know how long is "too long." The only thing they agree on is that san da ge do isn't like MMA, in which athletes can remain on the ground for as long as they stay active. In most cases, the san da ge do referee will stop the action and have the fighters stand up after about five seconds. Firsthand Fight When my Shanghai University classmates and I took our final fighting exam in the San Da Ge Do class and I was able to get my opponent to the mat and choke or submit him, the ref allowed it. If I had tried to use a ground-and-pound strategy, he would have stood us up immediately. Descendant of Chinese Wrestling Most of san da's throws are based on moves from traditional Chinese wrestling. I say that because I've trained in both arts, and often I noted that the same techniques were present. The difference is that in one system, practitioners might grip their opponent's jacket, while in the other, they might grip with an underhook or wrap an arm around his head or neck. Catching Kicks Most of the world's martial arts teach a few techniques for catching an attacker's kick and sweeping his leg to take him to the ground. San da specializes in this tactic. Yes, ordinary takedowns are used, but the majority of throws follow the catching of a kick. Firsthand Catch During my initial year at Shanghai University, an estimated 70 percent of my san da training time consisted of having a pro fighter kick me while I attempted to trap his leg and execute a throw. Time Limit Under strict san da rules, once a competitor clinches or begins a throw, he has about three seconds to complete the move. Taking longer risks a referee intervention. Who Should Study If you're a striker, san da is a beneficial system to learn because the training will enable you to polish your leg techniques — and perfect your side kick. If you're an MMA practitioner, san da can provide valuable training in the fine art of kick catching, as well as in the ability to follow up with a throw. Yes, other styles contain techniques designed to do the same thing, but in san da, the artistry rises to another level.

Joe Lewis first met Bruce Lee in 1967. “He wanted to convince me that I should use my strong side forward (when fighting),” Lewis recalls. But Lewis, who had successfully employed strategies of his own without Lee’s help, didn’t believe in changing his fighting stance at the time. By 1970, however, Lewis had become a full-time Lee protégé and was “road-testing” Lee’s jeet kune do theories in tournament competition. According to Lewis, the primary theme Lee stressed was simplicity . Although Lee maintained his own wing chun style, which was of little interest to Lewis, the former had integrated contact training and fighting strategies into his practice. The end result was often more important than the origin of the style. Lee explained to Lewis that jeet kune do was the “Way of the Intercepting Fist.”  Lee conjectured that an opponent’s attack dictated the potential counters. One simply performs a skill based on the “energy” of the attack. After all, fighting, according to Lee, was simply “a game of quick reactions.” Jeet kune do, then, was “a philosophical concept applied to fighting principles,” Lewis says. Lewis believed that Lee could do exactly what he said he could do. “Bruce could make JKD work because he had the right attitude, the physical ability, the mentality, and philosophy,” Lewis recalls. “He could put it all together.” Lee had two types of students: his special students, whom he taught privately, and those who comprised his group lessons. Lewis trained privately with Lee on Wednesdays during the late 1960s and early ’70s. According to Lewis, “We would begin each lesson with a general discussion of philosophy, and we would review fight films of Jack Dempsey or Muhammad Ali.” When studying the films, Lee and Lewis would try to incorporate two principles: “closing the gap”  and “mobility.”  The method was to view the films repeatedly in order to get the image of the perfect technique into their minds. “Lee could convince you that you could do what he was telling you you could do,” Lewis claims. While some of Lee’s original students focus on jeet kune do concepts, others maintain that a modified form of wing chun best exemplifies JKD. Lewis, however, concentrated on the Jun Fan kickboxing  aspect of jeet kune do, which was by far the most contact-oriented (and thus most realistic) training in the JKD program. The Lewis/Lee workout routines varied from learning independent motion in front of a mirror to focus-glove training. Within the first year of training with Lee, Lewis had become virtually unbeatable in tournament competition, winning 11 consecutive sparring titles. Lee was a gifted teacher, as evidenced by his ability to focus on an individual’s attributes and develop a program specifically tailored to that individual’s skills. In essence, each student received a personalized version of jeet kune do. Lee practiced a sort of empty-hand fencing or “intercepting fist” method (often referred to as “original” JKD) based on his personal attributes of speed, sensitivity and power. Dan Inosanto, arguably the most influential of the jeet kune do exponents, has promoted a method focusing on the concepts of JKD. This method has been widely taught and primarily emphasizes Filipino, Thai and Indonesian arts. Lewis, on the other hand, has focused on JKD strategies and kickboxing methods. For one to conclude that either the original form, the concepts method, or the kickboxing approach constitutes the entirety of JKD is to greatly shortchange Lee and his art. Or, as Lee might have said, it is a mistake in essence of JKD philosophy. Lewis has been successful in absorbing what is useful and creating something uniquely his own. Moreover, he has been successful in ridding himself of the JKD label. Lee envisioned jeet kune do simply as a vehicle— a boat in which to cross the river . Once you reach the other side, the boat was to be discarded. Unfortunately, many individuals have chosen to remain in the boat, refusing to discard it as they attach and limit themselves to a particular style or group. Perhaps the highest level of jeet kune do is in fact to gain freedom from JKD — to return to the nucleus, as it were. For Joe Lewis, the ascent through the JKD cycle has been complete.