Thursday, September 4, 2008

Systema: Principles of the Russian Martial Art

by. James Williams

If someone had told me a few years ago that out of a western Christian tradition would come a martial art as deep, sophisticated and evolved as the best of the oriental arts I would not have believed them. Yet there is such an art coming out of the ancient Russian culture with deep roots in the Russian Orthodox monasteries. At its root in the present day is an exceptional man, Mikhail Ryabko. Trained by one of Stalin’s Falcons from the age of five and beginning his operational career in the Russian Spetsnaz (Special Forces) at the age of 15, Mikhail Ryabko was not only given the secrets of this ancient art, he was put in the position of repeatedly applying both the art and its principles in life and death combat on, what for much of his early life, was a day-to-day basis. This System, taught by Mikhail Ryabko, is not a shadow of what once was, it is a living practical art that even now is being applied by warriors in combat. When working with Mikhail and his foremost student, Vladimir Vasiliev, one is struck by the calm depth of these men. Enormous knowledge and ability taught with calm, deep conviction.

The heart of Systema is its operating system. Techniques do not define the art, in fact, techniques per se are not taught. To make the most of Systema the mind/body must be free to do whatever is necessary, and not be limited by trained techniques. Techniques create a box, limiting the individuals ability to problem solve. By operating system I mean the manner in which human physiology and psychology access physical reality according to both a classical Newtonian and quantum physics understanding of universe reality. It is this operating system that opens the door to a whole new world. When Vladimir was told at one seminar “You are very flexible, he replied, “No, I am free.” It is this very freedom, this giving up of ego, that gives back so much. This is because principle-based Systema conforms to the individual instead of requiring the individual to conform to it. Everyone’s expression of Systema is different. It is like you are taught how to paint and then you express yourself.

The Systema operating system as taught by Mikhail and Vladimir is a faith-based operating system. The process of giving up your ego-based personal power and having faith that things are the way that they should be forms the core of this art. Mikhail teaches that fear produces unnatural movement. It is only through faith—knowing that things are the way they are supposed to be—that we can be free of fear and move naturally. Faith is based on the fact that everything that we need to exist has been given to us. Most of those things that are essential to our existence we do not even think about. We tend to breath unconsciously even though oxygen transfer is the most important thing that takes place in our body. It is the seminal energy transfer from which all else becomes possible. As Mikhail says “You breath in when you are born and out when you die, in between is your life.” Gravity keeps the atmosphere which contains our oxygen and ourselves on the planet that supports our life. Electro-magnetism allows shape and form. All of these, and many other unseen forces work to our benefit, yet they are all gifts as we have nothing to do in determining them. We live by grace, whose meaning you may ponder for yourself. If you are further interested you might do some research in regards to strong anthropic principle and super-string theory. That which we view as solid and “real” does not last. Those energies that allow us life, that we cannot see, are more real than those “solid” objects that will all pass away.

One of the exercises that I use to keep present and in faith, is to catch myself judging another or lacking of forgiveness. These states of mind do not come from faith; they come from fear. You will find that you are constantly judging, and this does not just refer to negative judgments. Accepting things as they are is as freeing as it is difficult. Reality is that at any given moment things are exactly as they “should” be because they are responding to Universal law. The fact that we think that they “should” be different means we are not accepting what is, we are denying reality. How does this transfer to a martial art, you may ask? Allowing things to be as they are frees us from fighting and contesting. A key element in Systema is not to contest for space or to hold ground. Learning to blend and flow with force is taken to an exceptional level. It also keeps us in the present moment of time, freeing us from the confines of the past and future. The conscious human mind, the ego mind, is moving constantly between past memory and future anticipation. Neither of these states is real and both limit or preclude our ability to perceive the absolute moment of “now” time. We tend to spend the majority of our time in this state of unreality. Those moments when we are truly present stand out for us such as when we have done something very dangerous that took all of our ability to accomplish and when done we have the “high” that comes from being absolutely present.

“We arrive at the understanding that living the will of God is the passport to the endless possibility of infinity itself.” —Urantia

Contesting for space is a huge fear-based response for human beings. We even talk about people invading our space, as if we owned it. The fact that someone’s fist and my face intersect at the same point in the fabric of space/time is an agreement. How you might say would one make such and agreement? These agreements to fight and protect space are made by our fear, our insecurity. The so-called startle reflex, and sharp inhale and tensing of the body when surprised or frightened, is an excellent example of this response. This response is fear based and destructive to us. One of the reasons drunks emerge from traumatic situations so well is that they do not have this response, they are not aware enough to be afraid, fight the kinetic energy and damage themselves. And there is the real truth of it, we damage ourselves. We do it in so many ways, however, here is one that is easy for us to understand. Tension resisting kinetic energy means that something has got to give. Kinetic energy cannot be created nor destroyed so guess who loses.

A natural, faith-based response, is simply to not be in the force vector. In reality, there is nothing to protect. The space that we are in at any given moment does not belong to us so why not vacate if something else want to be there? In Systema this response is taken to a truly incredible degree. When facing Mikhail, who is 5’6” and quite thick, it seems almost impossible not to be able to grab him. Yet this is extremely difficult to do. He is standing within arms reach, yet you cannot touch him enough to transfer any force or control. Your eyes tell you that you have a thick strong man that you are about to make contact with, yet you cannot seem to do it. This paradox is one of the end products of Systema training. When you look at the Master of Fighting video you will see how well Mikhail “mirrors’ his attackers. His ability to perceive their movements, even before these movements actually take place is a product of a lifetime of training. When you are working with him it feels like there is nothing that you can do that he is not already in harmony with. You can go faster—not recommended to the faint at heart or those who are allergic to pain—or slower; it makes no difference except that the more energy that you put out by moving faster the more is returned. Rob Green demonstrated this for everyone when he went after Mikhail with a knife at full speed. Rob works in a hazardous profession and needed to know for sure if Systema was effective. No one else asked to duplicate Rob’s attack, and Rob was a good sport about how effectively his question was answered.

When practicing Systema, visualize yourself as a contiguous energy field. In other words, there is no separation of body from mind. Visualize your partner the same way and, as you begin to work, keep this awareness. Don’t contest, don’t try to do, just be moved. If you have truly understood the return energy drills the solutions will come of themselves. This reflects another Universe truth, all problems bring their solution with them. An attacker brings the solution to his attack when he attacks. If we relax and “listen,” the solution will become apparent and all we have to do is implement it. However, if we already have a technique that we want to use to solve this problem we have limited our ability to perceive the most efficient solution. I tell my students if you allow it, the opponent will give you more than you could ask for. If you approach the problem with a toolbox of techniques and strategies you will be limited to them regardless if they are the most efficient means to deal with the attack. In fact, depending upon the opponent, they may not be successful at all. I teach my students to always apply Occham’s razor, when faced with a choice of solutions, i.e, the simplest, most efficient, is the correct solution. We define efficiency as the least amount of time, space, and energy it takes to solve the problem.

Allowing, accepting, also gives us access to energies that we normally have only a rudimentary ability to use efficiently. One of the main energies is kinetic energy. As you get softer, relaxed, and more aware, you realize that there are energies at work within you that you can use. You do not create them, they are not yours to own, however, they are available for you to use if you can give up enough of yourself, your ego self.

Psychic energy is like fire. We cannot create fire, however, we can create a situation in which fire is manifested. We do not own the fire, however, we can use it. It is not intrinsic to us and yet it can serve our needs. There is no need to try and accumulate physic energy inside ourselves; it is everywhere, it is an intrinsic aspect of Universe Reality. Like a sail that can shape the invisible energy that we call wind, we too can blend and shape forces on the levels that we can perceive. We do not create these forces, just as we do not create the wind, however we can perceive and use them nonetheless.

Breath is the beginning of all energy in the body. It is the seminal energy transfer; without it death occurs, with it machines can be built that take us into space. And with proper use of breath our own body/mind can be trained to do that which does not seem possible. In the beginning, it is essential that we begin to harmonize with our breath. Most people breathe as effort increases because their body is telling them that they need more oxygen. However, as you become more aware, you breath so that you can do more work and thereby gain more ability and performance. As an analogy, if you want a steam engine to go faster you must first give it fuel, yet we constantly ask our body to do more and then breathe harder to try and make up for the oxygen debt that is incurred. The next step up the ladder is to breathe so that we can do more. My friend Rickson Gracie is very good at doing this. The proper use of breath is not just emphasized in Systema, it is everything.

In Systema, the kata is replaced by slow-speed sparring training. There is an excellent article written by Arthur Sennott, on slow-speed sparring on my dojo web site. Learning the physical movements is the outside or omote of the art. The ura or inner art is learned slowly over a period of proper instruction and training. This growing awareness, perception, and understanding is never ending. This path of discovery is fascinating, enjoyable, and takes you into another world of understanding and performance. Getting into the flow of slow-speed sparring can get quite addictive. Your sensitivity and awareness move to a higher level. You begin to perceive movement, distance, and possibility with more than your eyes. You begin to see not just what is but what is possible.

Another benefit of slow-speed sparring is emotional/psychological. You find out exactly where you are stiff, where fear is being held. You also find out where you are not practicing with integrity. Speeding up a movement to avoid being hit for instance is out of harmony with the practice. You know that you did it, you partner knows that you did it, you know he knows, and he knows that you know that he knows. You find where you are not in integrity both on a conscious and unconscious level. The immediate cause and effect is enormously more beneficial for the emotional/psychological growth prospect than the rationalizations for our behavior that make up so much of our defense systems. Thus practicing with integrity not only improves our martial skills, it creates an incredible feeling of being in the flow of “now.” It makes you want to spend more time there.

Our mind is reflected in our physical body. Fear-based judgment produces rigidity; faith produces fluidity. Our own resistance becomes our teacher. The universe was set up to teach us; as it corrects itself so are we corrected. If we give pain we get pain. If we give fear we get fear. If we give love we get love. What we give is what we receive.

Mikhail Ryabko and Vladimir Vasiliev have a strong, positive impact on people, both in regards to their skill and personal integrity. In them we are, in my observation, seeing the best of Russia and its ancient culture. If you have an interest in what they teach, by all means make arrangements to attend a seminar. The atmosphere is one of sharing, loose and relaxed. You can present any problem or question and expect a functional, courteous answer. One of the main differences between Systema and a Japanese dojo is that you can question the teacher. Neither Mikhail nor Vladimir will be offended if you think that what he is doing will not work and ask him to show you. Just be aware that the amount of energy that you put into a problem that you would have them solve will be returned, it might be a good idea to ask the question softly at first.

When you can give up and allow instinctively and intuitively, you can return any energy sent your way like a conduit. This returning of energy to its source means that the attacker gets back what he gave. At higher levels, this returning of energy needs to be felt as how it can be achieved does not seem possible. Hearing about it or observing it leads to incredulity. The difficulty comes in trying to explain something that words are not adequate for. Explain to me how you ride a bicycle. It is an extraordinarily complex relationship where the experience of doing it far exceeds any ability or attempt to explain it. It is best to feel it for yourself and “know that there is no spoon.” My favorite analogy to my students is the dojo scene in “The Matrix” where Nemo is asked why he was beaten. This is what we are dealing with at higher levels of ability. Again this is not to add mystery to the art however when you are dealing on the edge there are many phenomena that words are not adequate to explain. Your conscious mind does not, indeed cannot, ride the bicycle. That is why you can think, day dream, etc. while you are riding the bicycle, it is your subconscious mind that is making it possible to ride.

The returning-energy phenomenon does not allow an attacker to escape receiving the energy that he generates. It is like standing a few feet from a solid wall and throwing a rubber ball at it as hard as you can. The ball immediately rebounds back at you before you can avoid its path. The human body can return energy in the same way if we do not fight the energy and just let it go back. The vectors can become very complex and almost impossible for the attacker to avoid.

Energy flows in waves. The blood that pulses through your body does so in a wave. Surfers are able to do the maneuvers that they do by riding kinetic energy waves. When watching Vladimir move it is easy to see the kinetic energy waves passing through his body. You can learn to use these waves to keep your balance when avoiding a strike and you can use these waves to return the energy to its source, your attacker. And these are the beginning levels, relatively speaking. To be able to access kinetic energy efficiently it is essential to truly relax your body. This relaxation is far beyond what we normally feel is relaxed. To achieve higher levels it needs to be deep in your psyche, hence the necessity of faith.

We do not realize how much resistance that we have to being pushed by other human beings. Our fear makes us contest for space to a degree that is unconscious and reflexive. The use of an object like a knife to apply the pressure engenders a very different reaction. Our fear-based ego response to another person’s push or punch all of a sudden gives way to a get-out-of-the-way response. This is because of the pain and damage the knife would cause and, in my opinion, because the knife is an inanimate object our ego also has an easier time letting go of resistance. I use the knife, real, sharp blades, ever more in my teaching because of their ability to help reprogram the resistance response in our brain.

There are good reasons why Systema does not teach “techniques.” Technique-based systems have a strong tendency to produce technique-based solutions. This “box” that is built, however large and powerful, limits possibilities. It also limits, to a great degree, how the individual can adapt to each different situation. There are an infinite variety of potential problems that are never the same of the sort, best explained by chaos theory. If you have a body of techniques, however large, you try to fit the problem into the existing structure regardless of whether it is the most efficient solution for treating that particular problem. The mind attempts to define things by what it knows already using existing understanding and concepts. This technique-based process does not allow for those possibilities that may exist. In a manner akin to a governor on an engine, the mind itself becomes limited. As my friend Scott Meredith says, “a bigger box is still a box, and a longer chain is still a chain.” The System, quite literally, is the teacher. Since the System is made up of the laws of the Universe, there is only truth in the teaching. It is not about opinion it is about discovery and awareness. Systema is a state of consciousness, not a series of techniques.

The fist, the stick, and the whip present the double-edged sword of training giving pain, exposing fear, and teaching us how to relax, use breath, and deal with painful energy transfers on many levels, with the mind being positively involved. One enormous benefit is that of inculcating a relaxed exhale-startle response. This contrasts sharply with the “normal” fear based contraction inhale response that is a great detriment to us. We injure ourselves with this rigid, fear, based response. A pliable body can take much greater stress than one that has been made rigid with fear. Instead of ribs flexing and absorbing the impact of hitting the steering wheel with force, tensed muscles give the ribs no choice but to break under the impact with a potential penetration of the lung from the sharp broken end. Without the fear-based mind to injure it, the body will protect itself. Integrity is essential in any higher human endeavor, and faith is essential to integrity. In Systema, integrity is essential to proper training. This integrity is required of both practitioners, as this journey cannot be walked alone. It demands that we share ourselves, and in the giving we get more than we give.

In Systema, soft means sensitive and aware. Systema makes us aware of force vectors so that we do not contest with them. It has nothing to do with an emotional “feel good” state. As I often remind my students, in the real world that warm, gooey feeling is usually blood. The conscious mind is not accessed when engaged, it is too slow, too emotional, and cannot handle a sufficient number of variables to deal with the time-space-chaos of combat, it is also not possible for the conscious mind to be “present.” Systema does not seek to control the chaos of combat; you ride the wave of it like a surfer, knowing that you cannot control the forces but that if you don’t fight them you can use them. My personal definition of soft is conformity with cosmic law; that which is in conformity is soft, that which conflicts is hard.

The ancient roots of Systema are derive from edged-weapon, lethal force conflict. Contesting for force vectors with long sharp pieces of steel and flying steel projectiles is not a viable option if one is to survive in this environment. Here is a basic overview. Plate armor was not common in Russia. Chain mail armor will not stop a hard sword cut on a rigid target. My friend Hank Rienhardt demonstrated this for me and allowed me to test it myself. We took a pork loin with bone, covered it with a gambeson and put chain mail over it. When struck hard with the sword the chain mail was cut, the gambeson was not, however the damage to the flesh underneath was catastrophic. Plate mail was not common in ancient Russia, however chain mail was. Mikhail had told me that the reason Systema evidences the kind of blending movement was because the chain mail would not protect a rigid target. Hank proved it too me and allowed me to test it for myself. Thus the necessity for the warrior to be constantly moving, absorbing, and redirecting the cuts from the sword. The energy that ensues from this motion is directed back into your sword, which cuts the enemy as he is attempting to cut you.

In my personal experiences the empty-hand arts that are the most sophisticated are all a part of sword-based systems. With edged weapons the space that is being attacked is vacated by you, the opponent’s target. As he enters that space to attack your weapon meets him in the very space that you vacated. This is the returning of energy that is practiced at many levels and in many different ways in Systema. Energy cannot be created or destroyed, however it can be shaped. I will demonstrate this at the Aiki Expo 2003 so that it is easier to understand.

Knowing is being and doing. It is an understanding in the body mind that is apparent and perceptible in function. An intellectually grasped concept is not knowing, it is thinking. It exists in the fear-created mind, which is not in touch with reality. The gifts of Systema are free. Free in the sense that the more you are in harmony with Universe law the more of that Universe becomes available to you. You don’t work for individual abilities as you do in other martial arts. This is the result of faith-based process. One analogy would be that of a leaf blowing in the wind. It blows as far and as fast as the wind blows it. No faster than the wind; no slower, it just is. In training look above the opponent’s eyes with defocused vision. Pick up the totality of the rhythm of movement. Like listening to a symphony with your whole being, become the flow. Separation leaves gaps, nature abhors a vacuum, these gaps are filled, what/who fills them is the question, and you have the answer. One you can manifest this level you can begin to play with and change it.

“Virtue is righteousness, conformity with the cosmos.”

We are looking for a state of being, a state of consciousness. Conscious, not-thinking as opposed to unconscious non-thinking. This is another world, a transcendent state. Conformity with cosmic law is living the will of God. Systema is a path to that conformity. Living with faith, not fear, allows us to be aware of and access those energies that have been freely given for us to use. This is true on the physical, emotional, and spiritual levels: “Know the truth and the truth shall set you free.”

Wednesday, August 20, 2008

Sword and Aikido

by Bill Gleason

When the founder passed away in 1969, sword training at the Honbu dojo in Japan ceased to exist as a part of the regular curriculum. At that time sword training was only available for select high ranking students and was conducted somewhat behind closed doors. Although the taking away of an opponents weapons continued to be a part of the testing process, teaching the use and handling of sword was, for all practical purposes, suspended completely.

Since that time the controversy over whether or not the practice of sword is really an integral part of, or even valuable to, aikido training has continued to intensify. There is little doubt however that Ueshiba Morihei O-sensei, the founder of aikido, considered it as an essential part of his teaching as well as his own training. He constantly used weapons, especially the sword, to show the principles of aikido. Why is swordsmanship so valuable for understanding the essence of aikido? If we view this question from an historical perspective the answer becomes quite clear.

O-sensei, by his own declaration, was the founder of aikido, yet not the creator of aiki principle itself. This principle was recognized in the ancient sword traditions of Japan as well as in the philosophy of Japanese Shinto. O-sensei was a devout student of Shinto and spent at least several years studying Japanese sword. Among the styles of sword that the founder studied was the ancient Kashima style which dates from the fifteenth century. The foundation of that school is the concept of Shinbu, "the divine martial way" in which one wins without fighting. To accomplish this was to develop oneself, both physically and spiritually, to the level of the gods.

Shin, in this case means "divine" and Bu refers to the creative force of life, the power of musubi, or becoming one with your partner. This was described as hoyo doka, an all-embracing acceptance of even the negative feelings of others and the re-integration of that magnanimous attitude back to those who would attack us. Practically speaking this acceptance and re-absorption is the ability to receive your partners energy and unify with it in such a way that his power is reduced to zero. In aikido this is a good explanation of what we call the power of kokyu. To master the spiritual and psychological aspects of this ability was called aiki. The word aiki was also used to denote the highest level of mastery in the Yagyu sword style in which O-sensei also excelled.

The really incredible achievement of the founder was to apply these principles to barehanded training in a new and unique manner. Why was this not accomplished in those ancient times? Every sword style contained its own interpretation of grappling or jutsu forms. This was necessary on the battlefield in case a warrior lost his weapon in the heat of battle. To be able to take away another mans sword when you had no weapon was considered the highest achievement in the Yagyu style.

It required the great spiritual vision of O-sensei to see barehanded training not as grappling but rather as sword without a sword. Even the great Kano sensei, the founder of Judo, declared aikido to be the art he had been searching for all his life. O-sensei through his own spiritual practices realized that we could use our hands, or even our mind alone, like a sword, to cut through our partners attack or defense. Combining his spiritual vision with actual sword training he realized that it was possible to extend the influence of our ki, or intention, beyond our fingers in the same way that our movement and reach is extended when holding a sword. Ki extension is the essence of muto or "sword without a sword" and that is no better exemplified than in the practice of aikido.

In studying sword we learn to control the kensen, the line that the kirisaki, the tip of the sword, draws in each cut. Eventually we are able to draw that line with our minds eye alone. This ability is one of the secrets of aikido practice. It enables us see the invisible form within each technique and to send out energy precisely to the correct place in our partners body. This ability takes many years to realize; without sword training, the student is much less likely to discover it.

Cutting with the Japanese sword is an expansive motion in which the tip of the sword must be unified with ones center. The basic diagonal cut, called kesa giri, may be equated with ikkyo in barehanded aikido training. If one truly masters this one cut, he or she has already realized shin shin toitsu or body-mind unification. Within kesa giri is the secret of natural spiral movement. The sword falls by its weight alone and the weight of the body comes to ride on top of its free fall. The turning of the hips and the subtle connection between your own center and the tip of the sword create effortless power and speed. Just as in aikido, this basic way of cutting with the sword is dependent on a continual expansion of our feeling; in fact, that is the life of the movement itself.

In addition, the footwork and total overall movement of swordsmanship match that of aikido exactly. Every move in aikido, correctly understood, is a cutting motion. After all, the sword was created to fit the natural movement of the body and not the other way around. Herein lies one of the major differences between aikido and any of the various schools of jujutsu. The nikkyo, sankyo, and yonkyo of aikido, for example, are performed as expansive cutting motions rather than as contracting wristlocks.

Aikido is an extremely subtle and difficult art. It requires a lifetime of dedication in order to grasp its essence. Because of its difficulty, aikido is quite often misinterpreted and practiced either as a form of jujutsu or merely as aerobic exercise. Practicing in either of these ways lacks both martial and spiritual content. Aikido techniques are designed to be ineffective until one has grasped the essence of expansive spiral motion and proper use of ki or internal power. They cannot therefore be effectively used in the same manner as jujutsu techniques, which depend largely on contracting motion for the purpose of breaking the partners joints.

Combining the study of sword with barehanded techniques we are able to discover the complementary antagonism of flexibility and relaxed power together with sharpness and precision. In the words of the founder, "In barehanded practice you should move as if you had a sword; when holding a sword you should not depend on it but move as if you had none." Studying this mental kamae, or stance, keeps us focused on the reality of a martial situation and at the same time allows us to remain flexible and relaxed. To unify these opposites is to discover aikido principle: yin and yang as one, movement and rest as one, irimi-tenkan as one, the unification of all opposites in a kind of dynamic monism.

This article is, of course, a large overview, and the many similarities between weapons and barehanded training can only come to be appreciated through proper training with a qualified teacher. It will not suffice merely to repeat sword kata as fixed forms without discovering their strategy and content. Each student, under the supervision of a qualified instructor, must take up the forms of both sword and barehanded training as parts of a whole, and through continual research and analysis, strive to refine his or her own individual practice to higher and higher levels of expertis

First Time Doshu Threw Me

by Rocky Izumi

I am in no position to comment on how good Doshu is but the first time he ever threw me, it changed a large part of my outlook on Aikido. Up till that time I was unsure about what "strong" technique was. I would try to ensure that my technique was clean and crisp, and there was good extension of Ki.

Doshu indicated for a morotetori attack and I complied. As he led me around him, I thought: "Boy, there isn't much strength here. Grabbing him is like grabbing smoke. He isn't really even leading me around." As I was completing the 360 degree turn into the iriminage, I thought: "I guess I should look for a place to land so I can take a good fall for him." At that point, I found myself staring up at the ceiling. I didn't understand how I got there. It was kind of like a time warp. The instant I had thought about falling, I had already fallen, so smoothly and softly that I didn't notice having done so.

Was it a "strong" throw? Was it a quick one? I don't know and I figure it really didn't matter anyway. I was down there where I was supposed to be.

I still try for clean, crisp technique and good extension of Ki but if I can get a person to jump for me, regardless of their initial intent, it saves me a lot of work. I figure, in practice, you should practice for the worst-case scenarios. But reality hardly ever turns out into worst case (not best case either).

A lot of Aikido is about self-defense and self-defense is about your ability to control your own environment. How you control your environment is up to you and the knowledge, skills, and abilities you possess. Aikido provides you with another set of skills and knowledge to help you control your environment. Those skills vary from crash-bang to smoke and mirrors. You use the tools most appropriate for the situation and move on (you might wish to leave a silver tanto).

Rock

(Rocky Izumi is the head of the Barbados Aikido Federation in Barbados, West Indies.)

Learning Techniques

by Rocky Izumi

A lesson to be learned is that all things change--even what a Shihan says. One day, he will say: "Do the technique this way." Next day, he will say: "No, that is wrong." One day, he will say: "This person is weak." The next day, he will say: "No, I didn't say that."

Which is why I can only do what I think the Shihan told me to do and if they decide that it was not what they told me to do, I can only accept the fact that I interpreted them incorrectly and apologize. In all communication you require

1. a sender;
2. an encoding process;
3. a transmission process;
4. a decoding process; and
5. a receiver

as the major parts of the system (there are a lot of other parts that I haven't mentioned but I will try and ignore them here for simplicity sake). What the sender intends to send must be encoded. The decoding algorithm must be the same. Who of us can be sure that the encoding process of a Shihan will match the decoding process that each of us uses? The transmission is also problematic in that we are often clueless as to the non-verbal messages that Shihan give as they talk. You have to be aware of their body language (which tends to be much more subtle than many others'), you have to be aware of past history (part of the encoding process), you have to be aware of present political situations (part of the transmission channel), and you have to be aware of what they understand of your background (part of the decoding process). Communication is a matter of perception.

I demonstrate a technique and one person says "he told us to do it this way." Another, higher ranked person says, "No, he told us not to do it that way." Both of them are right--from their individual point of view. And they probably both got the correct message. The same message was intended to be interpreted differently be each of those two people.

Many of the Shihan talk about harmony in Aikido. A gentle person interprets that harmony in terms of gentleness and caring for all living things. Others think, if the opposition pulls a .38, I'd better pull a .40! Both are harmonious but each of the sides will disagree with the other's harmoniousness.

Rock

(Rocky Izumi is the head of the Barbados Aikido Federation in Barbados, West Indies.)

Tuesday, August 19, 2008

The Founder's Dojo Regulations

by Morihei Ueshiba

  • Aikido decides life and death in a single strike, so students must carefully follow the instructor's teaching and not compete to see who is the strongest.

  • Aikido is the way that teaches how one can deal with several enemies. Students must train themselves to be alert not just to the front but to all sides and the back.

  • Training should always be conducted in a pleasant and joyful atmosphere.

  • The instructor teaches only one small aspect of the art. Its versatile applications must be discovered by each student through incessant practice and training.

  • In daily practice first begin by moving your body and then progress to more intensive practice. Never force anything unnaturally or unreasonably. If this rule is followed, then even elderly people will not hurt themselves and they can train in a pleasant and joyful atmosphere.

  • The purpose of Aikido is to train mind and body and to produce sincere, earnest people. Since all the techniques are to be transmitted person-to-person, do not randomly reveal them to others, for this might lead to their being used by hoodlums.

The Memoir of the Master

As ai (harmony) is common with ai (love), I decided to name my unique budo Aikido, although the word "aiki" is an old one. The word which was used by the warriors in the past is fundamentally different from that of mine.

Aiki is not a technique to fight with or defeat the enemy. It is the way to reconcile to world and make human beings one family.

The secret of Aikido is to harmonize ourselves with the movement of the universe and bring ourselves into accord with the universe itself. He who has gained the secret of Aikido has the universe in himself and can say, "I am the universe." I am never defeated, however fast the enemy may attack. It is not because my technique is faster than that of the enemy. It is not a question of speed. The fight is finished before it is begun.

When an enemy tries to fight with me, the universe itself, he has to break the harmony of the universe. Hence at the moment he has the mind to fight with me, he is already defeated. There exists no measure of time -- fast or slow.

Aikido is non-resistance. As it is non-resistant, it is always victorious.

Those who have a warped mind, a mind of discord, have been defeated from the beginning.

Then, how can you straighten your warped mind, purify your heart, and be harmonized with the activities of all things in Nature? You should first make the kami's heart yours. It is a Great love, Omnipresent in all quarters and in all times of the universe.

There is no discord in love. There is no enemy of love. A mind of discord, thinking of the existence of an enemy is no more consistent with the will of the kami.

Those who do not agree with this cannot be in harmony with the universe. Their budo is that of destruction. It is not constructive budo.

Therefore to compete in techniques, winning and losing, is not true budo. True budo knows no defeat. "Never defeated" means "never fighting."

Winning means winning over the mind of discord in yourself. It is to accomplish your bestowed mission.

This is not mere theory. You practice it. Then you will accept the great power of oneness with Nature.

Don't look at the opponent's eyes, or your mind will be drawn into his eyes. Don't look at his sword, or you will be slain with his sword. Don't look at him, or your spirit will be distracted. True budo is the cultivation of attraction with which to draw the whole opponent to you. All I have to do is keep standing this way.

Even standing with my back toward the opponent is enough. When he attacks, hitting, he will injure himself with his own intention to hit. I am one with the universe and I am nothing else. When I stand, he will be drawn to me. There is no time and space before Ueshiba of Aikido -- only the universe as it is.

There is no enemy for Ueshiba of Aikido. You are mistaken if you think that budo means to have opponents and enemies and to be strong and fell them. There are neither opponents nor enemies for true budo. True budo is to be one with the universe; that is to be united with the Center of the universe.

A mind to serve for the peace of all human beings in the world is needed in Aikido, and not the mind of one who wishes to be strong or who practices only to fell an opponent.

When anybody asks is my Aiki budo principles are taken from religion, I say "No." My true budo principles enlighten religions and lead them to completion.

I am calm however and whenever I am attacked. I have no attachment to life or death. I leave everything as it is to the kami. Be apart from attachment to life and death and have a mind which leaves everything to Him, not only when you are being attacked but also in your daily lives.

True budo is a work of love. It is a work of giving life to all beings, and not killing or struggling with each other. Love is the guardian deity of everything. Nothing can exist without it. Aikido is the realization of love.

I do not make a companion of men. Whom, then, do I make a companion of? The kami. This world is not going well because people make companions of each other, saying and doing foolish things. Good and evil beings are all one united family in the world. Aikido leaves out any attachment. Aikido does not call relative affairs good or evil. Aikido keeps all beings in constant growth and development and serves for the completion of the universe.

In Aikido we control the opponent's mind before we face him. That is how we draw him into ourselves. We go forward in life with this attraction of our spirit, and attempt to command a whole view of the world. We ceaselessly pray that fights do not occur. For this reason we strictly prohibit matches in Aikido. Aikido's spirit is that of loving attack and that of peaceful reconciliation. In this aim we bing and unite the opponents with the will power of love. By love we are able to purify others.

Understand Aikido first as budo and then as the way of service to construct the World Family. Aikido is not for a single country or anyone in particular. Its only purpose is to perform the work of the kami.

True budo is the loving protection of all beings with a spirit of reconciliation. Reconciliation means to allow the completion of everyone's mission.

The "Way" means to be one with the will of the kami and practice it. If we are even slightly apart from it, it is no longer the Way.

We can say that Aikido is a way to sweep away devils with the sincerity of our breath instead of a sword. That is to say, to turn the devil-minded world into the World of Spirit. This is the mission of Aikido.

The devil-mind will go down in defeat and the Spirit rise up in victory. Then Aikido will bear fruit in this world.

Without budo a nation goes to ruin, because budo is the life of loving protection and is the source of the activities of science.

Those who seek to study Aikido should open their minds, listen to the sincerity of the kami through Aikido, and practice it. You should understand the great ablution of Aiki, practice it and improve without hinderance. Willingly begin the cultivation of your spirit.

I want considerate people to listen to the voice of Aikido. It is not for correcting others; it is for correcting your own mind. This is Aikido. This is the mission of Aikido and should be your mission.

The Founder's Teachings

by Morihei Ueshiba

The following are some of the founder's teachings concerning the essence of aikido.


Aikido is a manifestation of a way to reorder the world of humanity as though everyone were of one family. Its purpose is to build a paradise right here on earth.

Aikido is nothing but an expression of the spirit of Love for all living things.

It is important not to be concerned with thoughts of victory and defeat. Rather, you should let the ki of your thoughts and feelings blend with the Universal.

Aikido is not an art to fight with enemies and defeat them. It is a way to lead all human beings to live in harmony with each other as though everyone were one family. The secret of aikido is to make yourself become one with the universe and to go along with its natural movements. One who has attained this secret holds the universe in him/herself and can say, "I am the universe."

If anyone tries to fight me, it means that s/he is going to break harmony with the universe, because I am the universe. At the instant when s/he conceives the desire to fight with me, s/he is defeated.

Nonresistance is one of the principles of aikido. Because there is no resistance, you have won before even starting. People whose minds are evil or who enjoy fighting are defeated without a fight.

The secret of aikido is to cultivate a spirit of loving protection for all things.

I do not think badly of others when they treat me unkindly. Rather, I feel gratitude towards them for giving me the opportunity to train myself to handle adversity.

You should realize what the universe is and what you are yourself. To know yourself is to know the universe.


Used with permission from the Aikido Primer by Eric Sotnak

Monday, August 11, 2008

A flying Jeet Kune Do kick

by. Bruce Lee

For all Bruce Lee fans and other martial arts interested people i have uploaded the complete book about Jeet Kune Do. It is based on the little Wing Chun teachings Bruce Lee had in Hong Kong. All 17 pages are copies of the original version from Bruce.

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Please take some time to read his original writings by typewriter and by hand. Let's stop de discussion about wich martial art is better and learn to understand that all martial arts have their goals and purposes. Bruce Lee and Jackie Chan are artists.

Thanks for your time.

Improving Flexibility

From About.com
See More About:

* martial arts training
* martial arts workouts
* stretching and flexibility

Warm Up First

Do a light warm up prior to stretching to help prevent injuries and to maximize your stretch. Check out our 15 Minute Warm Up To Prevent Injuries for some ideas.

Drink Plenty of Water

This should really be a no-brainer. You need water to be successful at any training you do, and that includes stretching. Skip out on the water, and you will pay very soon with all the cramping you will feel.

Take Your Time

When stretching, never bounce. Hold the stretch for at least 30 seconds, with 60 seconds being an optimal time for a stretch.

Don't Go Nuts!

If you injure yourself with over-zealous stretching, you will never get real, consistent gains in your overall flexibility. When stretching, go far enough to feel the stretch and slight discomfort, but never so far that you feel pain. Go slowly and do not bounce. Remember to breathe and try not to tense up while holding the stretch.

Rest Up and Remember To Eat

Just like with any muscular development, rest and proper nutrition is essential. You absolutely must give your body the fuel and time it needs to repair and strengthen the muscles.

Stay consistent

It does you no good to stretch only when you get dared by your training buddies to kick a doorframe or ceiling fan. In order to improve your flexibility and keep it, without injuring yourself, is to stay consistent. You have to do at least some stretching every day. You can and should however, alternate your heavy stretching days and make sure you mix in some rest days in there. Example:

* Monday - Heavy stretching
* Tuesday - Rest day, only light stretching prior to other workout
* Wednesday - Heavy Stretching
* Thursday - Complete rest. The only stretching you should do is the big yawn you get when you get out of bed in the morning. Besides, don't you have other stuff to work on?
* Friday - Heavy Stretching
* Weekend - Take it easy, have some fun.

Brazilian Jiu-Jitsu Essentials

From About.com
Filed In:

1. Martial Arts Styles
2. Ground Fighting / Grappling

History and Origins of BJJ: Brazilian Jiu-Jitsu is a martial art style rooted in both the new and old. It is a style that has been tested and proven in many arenas, and can trace it's roots back to the Kodokan, and the samurai before that.

Brazilian Jiu-Jitsu History and Development
Know The Lingo - Basic Terminology:

* Arm Bar
* Guard
* Kimono
* Tap Out
* Upa

Supplies and Equipment: Brazilian Jiu-Jitsu is a martial art that does not require lots of expensive equipment. All you will generally need is a kimono, or gi. You will also use a t-shirt and shorts for no gi grappling. Males will want a groin cup. An ear protector like the type used in wrestling can also be used.
Brazilian Jiu-Jitsu Basics - Tutorials:

* The Guard
* Half Guard
* Butterfly Guard
* Spider Guard
* Bridging

More BJJ Techniques:

* Arm Bar from Mount
* Escape from Side Control
* The late Master Carlson Gracie demonstrates the triangle choke

Ground Fighting / Grappling

* What are Ground Fighting/Grappling Martial Arts?
* Martial Arts Style Profile - Brazilian Jiu Jitsu
* Ground Fighting Basics - The Guard - Grappling Basics
* Ground Fighting Basics - Half Guard - Grappling Basics
* Ground Fighting Basics - Butterfly Guard - Grappling Basics

Sunday, August 10, 2008

Beginners Guide To Choosing A Martial Arts Style

Choosing The Martial Arts Style That's Right For You

From About.com
See More About:

* choosing a martial art
* martial arts styles
* beginning martial arts

Muay Thai Kickboxing Martial Arts Gear Boxing Training Taekwondo Hapkido

There are many martial art styles out there, some very popular and some very obscure. It is important to understand the basic features of a style so that you can decide if it is something you will be interested in training in.

The following tips are intended to help you get a starting point for your search for a style that you will love. There are a few broad categories of styles - stand-up styles, ground fighting or grappling styles, throwing styles, weapons based styles and low impact or internal styles:

Stand-up Styles

Stand-up styles utilize punching, kicking and blocking as the main focus of their art. A student learns various stances, footwork and combinations in practice, which vary in appearance and application depending on the style. Stand-up styles include:

* Karate
* Kung Fu
* Tae Kwon Do
* Boxing/Kickboxing
* Krav Maga
* Wushu
* San Shou

This is by no means a complete list. Stand-up martial arts styles are by far the most prolific and popular of martial arts.

Ground Fighting or Grappling Styles

Ground fighting or grappling/locking styles do not limit their teaching to the ground. The term simply means that they have a large focus on the "wrestling" aspect of combat. These styles include:

* Brazilian Jujitsu
* Shooto or shoot fighting
* Sambo
* Greco-Roman Wrestling

Throwing Styles

Throwing styles are styles that primarily start from a standup position but utilize throws, trips, locks and other means to disrupt the balance of an opponent. Some of these styles are:

* Judo
* Aikido
* Shuai Jiao (Chiao)
* Hapkido

Weapons Based Styles

Weapons based styles are just that - styles that focus the majority of their practice on the use of one or more weapons. These tend to be more traditional or cultural arts, however some arts such as Kali still have a strong combat or self defense focus. Such styles include:

* Kali
* Iado
* Kendo

Low impact or Meditative Styles
These styles, while originally formed for combat purposes, have evolved into what are today more focused on breathing, internal energy, stress relief and a low impact form of martial arts training and exercise. These styles include:

* Tai Chi
* Ba Gua
* Chi Gong based styles

Consider which type of practice appeals to you. Also, think about the reasons why you want to train and what you hope to gain out of your training. It is important that you choose a system that you think you can realistically stick with and are comfortable with if you are going to make martial arts a part of your life. For more information on the various reasons to train and styles that may suit your reasons, read 5 Reasons for Considering Martial Arts Training.
Suggested Reading

5 Reasons for Considering Martial Arts TrainingStyles & Disciplines
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* About Martial Arts - Martial Arts Styles, Training, Supplies & Discussion
* What are Ground Fighting or Grappling Martial Arts Styles?
* Jujitsu - Brazilian Jiu Jitsu - Martial Arts Styles
* What is the best martial arts style?
* 5 Reasons To Start Training in the Martial Arts - Martial Arts Training Goa...

Weight Loss Tips for the Martial Artist

From About.com
See More About:

* martial arts training
* weight loss
* diet tips
* martial arts workouts
* fitness

A martial artist always strives to be in the best shape possible. Sometimes that means losing weight, either because we are overweight or because we need to make weight for an event or a fight. Whatever the reason, these tips are designed to get you started on the road to permanent weight loss.
Make A Real Commitment
Understand that weight loss will not happen, or will not be permanent or healthy if you do not commit to an overall healthy lifestyle. There is no magic diet or pill. You can't starve yourself, or do drastic amounts of exercise all of a sudden. Permanent weight loss means making a choice to eat right from now on. It means making good choices, not punishing yourself. It means exercising consistently, not exercising so hard that you are too sore or discouraged to stick to your regimen. Be smart, be real and be determined, and you will reach your goals.
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Find Out Where You Are Starting From
Take detailed measurements. If all you have is a scale, then write down your weight and the date. Always weigh yourself with as little clothing as possible, preferably before you eat breakfast in the morning. If you have access to any method of body fat calculation, write that number down as well. Weigh yourself and do body fat calculations every two weeks.

Pay attention to how your clothes fit. Martial arts training can be very muscular in nature, and you may put on muscle mass that can be misleading on a scale. The way your clothes fit, and how your body looks is much more important than what your scale says. Remember, the goal is a healthier body with less fat and more lean muscle, not a certain weight on the scale.
Calories Really Do Count
There is one simple rule to adhere to when you are trying to lose weight. You need to burn more calories than you take in. That doesn't mean that you should starve yourself. You need calories for fuel, especially to make it through strenuous martial arts training. This tool can help calculate the amount of calories you should take in for weight loss.

Keep a notebook or diary of everything you eat for a couple of weeks. Don't skip anything. If you eat it or drink it, write it down, and include the amount as well. You can go to www.calorie-count.com and find the calorie values of your food.
Shop Smart
Go grocery shopping with a list in hand. One bit of advice often given to those shopping while trying to lose weight is to avoid the inner aisles of the grocery store. The inner aisles are full of processed foods that are full of sugars, bleached flours, syrups, preservatives and all of the other empty, harmful things you do not want on a diet. Stay on the outside of your local grocery store and stock up on fresh foods that you have to cook or can eat raw. No ready-made, processed foods!

Also, never go grocery shopping hungry! You will want to buy every tasty thing that you see, even though you know better. Stores are geared towards impulse buying. Resist the urge. You will be proud that you stuck to your diet plan.
Eat Food as Fuel
What foods should you be buying? Whole foods - veggies, grains, fruits, fresh meats and poultry. These are the foods that give you fuel to train hard and recover fast.

Fruits and Vegetables

Kiwi, cherries, blueberries, bananas (while calorie dense, they are also good sources of vitamins and minerals, especially potassium, which helps to prevent muscle cramps), and dark green veggies.

* More on The Benefits of Fruit

Grains

Think brown. Brown rice and whole grain breads. No white bread or rice, and it goes without saying no sweets like cookies or cakes. Save those for rare treats or rewards.

Meats

Lean beef, white meat chicken, salmon and cold water fish. Tuna in a can is a great food on the go. Always eat plenty of lean protein!
Stay Hydrated!
Drink plenty of water! Stay away from soda, juices and other sugary beverages. You should be drinking a bare minimum of 8 glasses, or 64 ounces, of water per day. If you are training hard, like you should be, you should try to drink even more.

Drinking plenty of water will aid in your weight loss. Staying hydrated will allow your body to stop holding onto water weight. Your skin, hair, digestion and muscle recovery will also improve when properly hydrated.
Push Yourself In Training
In the dojo, the gym or at home, it is up to you to push yourself to your limits. Get the most out of your training time. Throw each technique like it is real. Push yourself to run faster, stretch longer and hit with more intensity. Train like a warrior and you will soon look like one.

Remember that consistency is key! It doesn't matter if you work hard one day if you are going to cheat at your workouts the rest of the time. It's your body and your life. Only your sheer force of will is going to push you to the next level of martial arts and physical fitness.
Variety is The Spice of Life
Try to add variety to your workout routine to avoid plateaus. You should mix up your training routines to optimize weight loss, fat loss, muscle growth and recovery. Remember, there is more to training than what you do in the dojo or gym.

Example Workout Routines

* 15 Minute Workout to Prevent Injuries
* Beginner's Running Program
* Stationary Bike Workouts
* Warm Weather Outdoor Training
* Cold Weather Outdoor Training
* High Powered Plyometrics DVD Review - Plyometrics Training

It is also a great idea to do some exercise first thing in the morning on an empty stomach to optimize fat loss.
Schedule Your Recovery Time
The body needs time to rest and repair from hard training. Sleep and rest are just as important to losing weight as the training! If your body is in stress, it will hold onto those body fat stores for dear life! Make sure you get enough sleep and have at least one day a week where you do no strenuous physical activity. Schedule your rest time and stick to it, the same as how you would schedule a training session. You will see results faster and feel much better in the process.
Supplements Can Help, But They Aren't Magic
Supplements can help with fat burning, can speed recovery time and can give you a boost in performance as well. It is important to remember several things about supplements though. First, some people think they are not safe. Read all the labels, research online and make an informed decision. The vast majority of supplements available over the counter are relatively safe, provided you don't have any pre-existing medical conditions like high blood pressure, heart problems or diabetes. At the very least, I would recommend taking a joint support compound and a multivitamin for good health and recovery.

Saturday, August 9, 2008

The late Bruce Lee stars in a movie set to be released in 2004.

Bruce Lee lives!

Using computer graphics technology, a South Korean filmmaker is making a $50 million movie that will be the first to feature a long-dead star in a leading role. Chul Shin, a producer of 15 Korean-language films, said he is developing software that will fool audiences into believing they're seeing Bruce Lee in the flesh.

"I think you saw Final Fantasy?" the 45-year-old producer said in halting English from his office in South Korea. "The characters in that film didn't have the vitality essential to life. We will create vitality."

Final Fantasy, an animated science-fiction adventure, is considered the state of the art in creating close to photo-realistic animation. Films like Jet Li's current film, The One, have short sequences featuring digitally created actors.

But Shin's Bruce Lee film, tentatively titled Dragon Warrior and slated for release in 2004, takes the quest for photo-realistic "synthespians" to an entirely new level.

The devil will be in the details. "It's very difficult to create liquids on the skin, like sweat or blood," Shin said. "That's one thing we're now solving."

Shin is looking for an actor whose voice resembles Lee's voice to read his lines; he says it's a relatively simple task to digitally doctor the voice to make it a near-exact replica of Lee's voice.

Shin also has a short list of Asian martial arts performers who have learned to imitate Lee's moves very closely. He plans to film them using motion capture equipment that he can then incorporate into his digital Bruce Lee models -- giving fight sequences a natural flow.

To secure a worldwide audience, Shin wants to find American stars for the film, and will make the dialog in English. (Most of Lee's films were in Cantonese). Shin plans to open a West Coast office early next year.

Ideally, he'll make the film himself, and then ally with a Hollywood studio to market it worldwide. Sony Pictures bankrolled the biggest Asian-themed box office smash to date, Crouching Tiger, Hidden Dragon.

The producer declines to talk about the plot for the film, saying it's now in development.

Shin said he has raised $30 million of the $50 million he needs for the film from Asian investors, and doesn't foresee any problems raising the rest.

For Shin, a Bruce Lee fan since high school, the film's biggest challenge may have been persuading Lee's widow and daughter to back his idea. Both are living in the United States, and took about four years of convincing as to why a Korean producer practically unknown in the United States should make a Bruce Lee movie.

"I just kept coming back and back," he said. "Finally, they were convinced by my enthusiasm."

Bruce Lee made his American debut in 1966 as Kato in the TV series The Green Hornet. His first breakout hit was 1971's The Big Boss, followed by Fists of Fury, Way of the Dragon and his biggest hit, Enter the Dragon. He died in 1973 at age 32 of an apparent cerebral edema.

Bruce Lee legend remains strong 30 years after his death

In 1959, a diminutive, bespectacled kid swapped the alleys of Hong Kong for the streets of San Francisco in search of fame and fortune in a cut-throat US movie industry conspicuously devoid of Asian stars. In just over a decade, Bruce Lee would alter the face of hard-hitting Kung Fu movies forever and in the process establish his place in martial arts folklore as "the greatest martial artist of all-time" in the eyes of his loyal devotees worldwide.

When Lee died suddenly at the age of 32 on July 20, 1973, in his Hong Kong home with only his mistress Betty Ting present, the world united to mourn the passing of Kung Fu's first international superstar. And on the 30th anniversary of his death Sunday, his legend lives on and his popularity remains undiminished with fans still eager to snap up his movies and memorabilia and millions still left awestruck by his trademark high-kicks.

His pioneering success opened the door to Hollywood fame for other Asian stars, including Jackie Chan and, more recently Jet Li and Michelle Yeoh, but his fans are adamant that Lee remains the undisputed Kung Fu master. "Bruce Lee was the original and the best -- the greatest martial artist of all-time. Nobody else comes close," said 26-year-old Jeffrey Lai as he watched "Game of Death" at a Bruce Lee exhibition. The film, in which Lee faced off against, among others, former Los Angeles Laker's basketball star Kareem Abdul Jabbar, had to be finished by a screen double after he died before production was complete.

Lai was among other devoted fans perplexed by the failure of Hong Kong authorities to build a permanent memorial to honour the man who gave the city's film industry international recognition. China opened a museum in March 2002 dedicated to Lee in his ancestral hometown in Shunde in the southern province of Guangdong, where his father and grandfather were born, despite the fact that Lee only visited the town once when he was five years old.

Lewis Luk Tei, a spokesman from the Bruce Lee Union, said: "Hong Kong authorities should take heed from Guangdong. The plan (to erect a memorial) should not be dragged out any longer."

"It's criminal," said another fan, Kwok Chi-wai, 55. "Bruce Lee made Hong Kong films famous. Even 30 years after his death, he is still Hong Kong's most famous actor. He had style and he knew how to make martial arts attractive for mass audiences. "There would be thousands of fans who would flock to Hong Kong to mark his anniversary if there were a memorial, a shrine or something. A waxwork dummy in Madame Tussaud's just doesn't do him justice. It's an insult," he added.

The exhibition is the only public gathering in Hong Kong planned to celebrate the life of Lee, the founder of the martial art Jeet Kune Do -- the way of the intercepting fist -- which features a mixture of styles, including wushu and Tae Kwon Do.

Lee was born in San Francisco on November 27, 1940 and arrived in Hong Kong in 1941. Legend has it Lee turned to martial arts in 1953 after he was on the receiving end of a hiding in a street fight. He was a child film star by the age of six but decided to seek fame abroad and left for his city of birth in 1959. His first break in the United States came when he was cast as Kato in the popular 1960s television series, The Green Hornet. However, his hopes that the role would lead to bigger film parts did not materialise and Lee again returned to Hong Kong to make several films, including "Big Boss" and "Fist of Fury" which turned him into a huge star in Asia and later Europe.

His patience finally paid off in 1973 when he starred in his most celebrated film, "Enter the Dragon," which was the first martial arts film to receive backing by a large Hollywood studio -- Warner Brothers.

Lee tragically never saw his most famous film debut in the United States. He collapsed and died from an edema -- a swelling of the brain -- two months before it was first screened. His death left fans worldwide pondering how a man so young and supremely fit could just die.

After listening to 30 years of rumours, Lee's mistress -- Taiwanese actress Betty Ting who was with him the night he died -- said she was ready to clear up the mystery in a planned autobiography. "I'm determined to let the world know my story ... I don't want others to write fake stories about me anymore," she told the South China Morning Post.

Training With "The Dragon"

Article by: Ted Wong

Few individuals were as close to Bruce Lee as Ted Wong. Still teaching the system he learned from Lee, Wong can offer important insights into the late Dragon's training and instructional methods. As a friend and training partner of Lee, Wong gleaned technical and philosophical information from the legendary martial artist that most individuals were never privy to. In the following Dragon Spirit column, Wong explains what changes he thinks Lee would have undergone in his personal training, and in his overall outlook on the martial arts, had he been alive today.

After Bruce Lee died, I remained quiet for a number of years. But in the past few years, I have started to get a little more actively involved in the martial arts and jeet kune do. I had always wanted to teach the martial arts someday, but during those years, I felt I was still learning and still training. But I think after 20?some years, I have paid my dues and put my time into it. I have found that people really want to learn the original art and what Bruce Lee taught when he was alive. That's the reason I'm teaching now.

I teach, as close as I can, the art that Bruce taught, and hopefully it has evolved and changed, and become better. I basically teach the fundamentals of jeet kune do, based on Bruce's philosophy and principles. Over the years, I have tried to improve on it and make it better.

Probably only one percent of those teaching jeet kune do today are still teaching Bruce's art. Keep in mind that he did not really teach or talk about jeet kune do to many people in his life. I can't find one instructor who teaches the original form full?time; it's more like a hobby.

I think Bruce would be pretty pleased with the martial arts today. A lot of people apply his philosophies and principles, but with his concepts, you can make them conform to other martial arts and, in so doing, they will improve them. The martial arts have really come a long way since his passing. They have become much better and more practical.

Bruce always wanted to stay away from the martial arts being used as a sport. I think he tended to stay away from it as a sport because you could not fully utilize the art or its potential. It was not the ultimate martial art unless it was "anything ?goes." Bruce wanted to practice an art that he could use. No holds barred, no holding back, anything goes- that was his philosophy.

But I think today Bruce would also like the sport portion of martial arts because you develop speed, power and timing- things you can apply to sharpen your skills.

As far as no?holds?barred tournaments like the Ultimate Fighting Championship (UFC), I don't think Bruce would enter something like that. The UFC still has some limitations to it, even though they refer to it as ultimate fighting. There are still rules that say you can't do this or that. But I think as a test of your skills, Bruce would like it.

I don't think Bruce really liked teaching. He definitely didn't like to teach large groups. If anything, he enjoyed teaching one on one, or small groups. He always found a new way to develop different muscles, to improve speed or whatever. I'm sure he would still be looking for ways to improve conditioning, especially ways that no one else had discovered. He was always researching, reading and looking for more knowledge, analyzing it, and trying to utilize it.

The way Bruce taught and trained was always individualized. He would gear the training to work for you. Bruce could look at you and see what you were lacking and what your potential was. and then he could fully develop your potential. I think he was always looking at the individual and developing a program to suit that individual.

Bruce was a great motivator. He would get interested in you and consumed with the idea of doing everything to motivate you.

If he were still alive today, he would still train and be looking for ways to improve. Because he once said that if you are lacking in your physical ability and conditioning, then you have no business in the martial arts.

He spent most of his time developing, researching and experimenting with his art. That left him little time for teaching. In those days, seminars were unheard of. It wasn't until the early 1980s that people started teaching seminars to large numbers.

When I train now, I always think about him. I try to apply the things I learned from Bruce and use them in my daily routine. It makes me a much better person.

People always ask me about his physical conditioning. I looked up to him because he set the standard to follow in training and conditioning the human body. If he were here today, I believe he would be in even better shape. I don't think he would ever let himself go.

Bruce Lee "The lost interview"

The one that started it all. Described by Lee's friends, family and students as being "vintage Bruce," The "Lost" Interview has quickly become a classic and is the only surviving interview on film. Bruce is interviewed by Canadian journalist Pierre Berton.

You do not have to watch it you can read it here:

Pierre Burton: Well how can you play in Mandarin movies if you don't even speak Mandarin?

Bruce Lee: Well first of all, I speak only Cantonese.

Pierre: Yeah.

Bruce Lee: So, I mean, there is quite a difference as pronunciation and things like that is concerned.

Pierre: So somebody else's voice is used right?

Bruce Lee: Definitely, definitely!!

Pierre: So you just make the words...doesn't that sound strange when you go to the movies, especially in Hong Kong, your home town, and you see yourself with somebody else's voice?

Bruce Lee: Well not really, you see, because most of the mandarin pictures here are dubbed anyway.

Pierre: They're dubbed anyway?

Bruce Lee: Anyway. I mean in this regard, they shoot without sound. So it doesn't make any difference.

Pierre: Your lips never quite make the right words, do they?

Bruce Lee: Yeah, well that's where the difficulty lies, you see. I mean in order to....the Cantonese have a different way of saying things....I mean different from the mandarin. So I have to find, like, something similar to that in order to keep a kind of a feeling going behind that (in my films). Something, you know, matching the mandarin deal. Does it sound complicated?

Pierre: Just like in the silent picture days (the old silent days). I gather that in the movies made here the dialogue is pretty stilted anyway.

Bruce Lee: Yeah, I agree with you. I mean, see, to me, a motion picture is motion. I mean, you've got to keep the dialogue down to the minimum.

Pierre: Did you look at mainly Mandarin movies before you started playing in your first one?

Bruce Lee: Yes.

Pierre: What did you think of them?

Bruce Lee: Quality wise, I mean, I would have to admit that it's not quite up to the standard. However, it is growing and it is getting higher and higher and going toward that standard that I would term quality.

Pierre: They say the secret of your success in that movie, the "Big Boss", that was such a success here, and rocketed you to stardom in Asia, was that you did your own fighting.

Bruce Lee: Uh-huh.

Pierre: As an expert in the various martial arts in China, what did you think of the fighting that you saw in the movies that you studied before you became a star?

Bruce Lee: Well, I mean, definitely in the beginning, I had no intention whatsoever, that what I was practicing, and what I'm still practicing now would lead to this, to begin with. But martial art has had a very, very deep meaning as far as my life is concerned because, as an actor, as a martial artist, as a human being, all these I have learned from martial art.

Pierre: Maybe for our audience who doesn't know what it means, you might be able to explain what exactly you mean by martial art?

Bruce Lee: Right. martial art includes all the combative arts like Karate...

Pierre: Judo.

Bruce Lee: ...or Karate, Judo (agrees), Chinese Gung-fu, or Chinese boxing, whatever you call it. All those, you see, like, Aikido, Korean Karate, and on and on and on. But it's a combative form of fighting. I mean some of them became sport, but some of them art still not. I mean some of them use, for intense, kicking to the groin, jabbing fingers to the eyes, things like that.

Pierre: No wonder you're successful in it! The Chinese movies are full of this kind of action anyway...they needed a guy like you! (they both laugh)

Bruce Lee: Violence, man!

Pierre: So you didn't have to use a double when you moved into the motion picture role here.

Bruce Lee: No.

Pierre: You did it all yourself?

Bruce Lee: Right.

Pierre: Can you break five or six pieces of wood with your hand or foot?

Bruce Lee: I'd probably break my hand and foot! (they both laugh)

Pierre: Tell me a little bit....you set up a school in Hollywood didn't you?

Bruce Lee: Yes.

Pierre: For people like James Garner, Steve McQueen and the others.

Bruce Lee: Yes.

Pierre: Why would they want to learn Chinese martial art? Because of a movie role?

Bruce Lee: Not really. Most of them you see, to me at least, the way that I teach it, all types of knowledge ultimately man self-knowledge. Therefore, these people are coming in and asking me to teach them, not so much how to defend themselves, or how to do somebody in, rather, they want to learn to express themselves through some movement, be it anger, be it determination or whatever. So, in other words, what I'm saying therefore, is that they're paying me to show them, in combative form, the art of expressing the human body.

Pierre: Which is acting, in a sense, isn't it?

Bruce Lee: well......

Pierre: or would be a useful tool for an actor....

Bruce Lee: It might sound too philosophical, but it's unacting acting or acting unacting....if you know...

Pierre: You've lost me!

Bruce Lee: I have huh? So what I'm saying, actually, you see, it's a combination of both. I mean here is natural instinct and here is control. You are to combine the two in harmony. Not...if you have one to the extreme, you'll be very unscientific. If you have another to the extreme, you become, all of a sudden, a mechanical man...no longer a human being. So it is a successful combination of both, so therefore, it's not pure naturalness, or unnaturalness. The ideal is unnatural naturalness, or natural unnaturalness.

Pierre: Yin/yang, eh?

Bruce Lee: Right man, that's it.

Pierre: One of your students, James Coburn , played in a movie called "Our Man Flint", in which he used Karate. Was that what he learned from you?

Bruce Lee: He started training with me after the film. Not...

Pierre: So he learned after he played in "Our Man Flint".

Bruce Lee: Right. Right. You see, actually, I do not teach, you know, Karate, because I do not believe in styles anymore. I mean I do not believe that there is such thing as, like, a Chinese way of fighting or a Japanese way of fighting...or whatever way of fighting, because unless a human being has three arms and four legs, there can be no different form of fighting. But, basically, we only have two hands and two feet. So styles tend to, not only separate man because they have their own doctrines and the doctrine became the gospel truth that you cannot change! But, if you do not have styles, if you just say, "here I am as a human being, how can I express myself totally and completely?" ...now that way, you won't create a style because style is a crystallization. That way is a process of continuing growth.

Pierre: You talk about Chinese boxing....how does it defer, from, say, our kind of boxing? (western)

Bruce Lee: Well, first we use the foot.

Pierre: Uh-huh, that's a start.

Bruce Lee: And then we use the elbow.

Pierre: Do you use the thumb too?

Bruce Lee: You name it man, we use it!

Pierre: You use it all?

Bruce Lee: You have to, you see, because that is the expression of the human body. I mean, everything, not just the hand! When you are talking about combat, well, if it is a sport..well now your talking about something else, with regulations, and rules..but if you're talking about fighting...

Pierre: No rules.....

Bruce Lee: ...with no rules, well then, baby, you'd better train every part of your body! And when you do punch..now I'm leaning forward a little bit hoping not to hurt any camera angle..I mean you've got to put the whole hip into it, and snap it! (Lee punches twice, very quickly) and get all your energy in there and make this into a weapon.

Pierre: I don't want to tangle with you on any dark night, I'll tell you that right now! You came at me pretty fast there! What is the difference between Chinese boxing and what we see these old men doing at eight o'clock every morning on the rooftops and he parks called 'shadowboxing'. Which they're always doing?

Bruce Lee: Well, actually, you see, that is part of Chinese boxing. There are as many schools, different schools...

Pierre: Everybody here seems to be going like this (moves in a tai-chi movement) all the time.

Bruce Lee: Well, that's good. I mean, I'm very glad, I'm very glad to see that because at least somebody is caring for their own bodies, right?

Pierre: Yeah.

Bruce Lee: I mean that's a good sign. Well it's kind of a slow form of exercise which is called tai-chi-chuan...I'm speaking mandarin just now...in Cantonese, 'Kai-di-kune', and it's more of an exercise for the elderly then the young.

Pierre: Give me a demonstration; show me, can you do a little bit of it?

Bruce Lee: (begins a seated demonstration of tai chi hand movements...) I mean, have-wise, it's very slow and you push it out but all the time you are keeping the continuity going; bending, stretching, everything. You just keep it moving.

Pierre: It looks like a ballet dancer there...

Bruce Lee: It is..I mean to them the idea is "running water never grows stale". So you've got to just "keep on flowing".

Pierre: Of all your students, famous, James Garner, Steve McQueen, Lee Marvin, James Coburn, Roman Polanski, which was the best? Who adapted best to this oriental form of exercise and defense?

Bruce Lee: Well, that depends...as a fighter, Steve..Steve McQueen..now, he is good in that department because, that son of a gun has got the toughness in him....

Pierre: I see it on the screen....

Bruce Lee: I mean, he would say, "all right baby, here I am, man", you know, and he'll do it! Now James Coburn is peace-loving man....

Pierre: I met him.

Bruce Lee: Right? I mean, you've met him....

Pierre: Yeah.

Bruce Lee: I mean he's really, really nice, and super mellow, and all that...

Pierre: Yeah, he is!

Bruce Lee: You know what I mean? Now he appreciates the philosophical part of it. Therefore, his understanding of it is deeper then Steve's. So it's really hard to say, you see what I'm saying now?

Pierre: I see....

Bruce Lee: I mean it's different, depending on what you see in it...

Pierre: It's interesting, we don't in our world, and haven't since the days of the Greeks who did, combined philosophy and art with sport. But quite clearly the oriental attitude is that the three are facets of the same thing.

Bruce Lee: Man, listen to me, ok? To me, ultimately, martial art means honestly expressing yourself. Now it is very difficult to do. I mean it is easy for me to put on a show and be cocky and be flooded with a cocky feeling and then feel, then, like pretty cool and all that. Or I can make all kinds of phony things, you see what I mean? And be blinded by it. Or I can show you some really fancy movement, but, to express oneself honestly, not lying to oneself....and to express myself honestly, that, my friend is very hard to do. And you have to train. You have to keep your reflexes so that when you want it...it's there! When you want to move, you are moving and when you move you are determined to move. Not taking one inch, not anything less than that! If I want to punch, I'm going to do it man, and I'm going to do it! So that is the type of thing you gave to train yourself into it; to become one with it. You think....(snaps his fingers) ....it is.

Pierre: This is very un-western, this attitude. I've been talking to Bruce Lee, mainly about the Chinese martial arts which include things like Chinese boxing, Karate and Judo, which is what he taught when he was in Hollywood after he left the university of Washington, where he studied, of all things, philosophy, if you can believe that. But he did but that, perhaps you understand why the two go together from the first half of this program and you can perhaps understand how he got into films, he knew a lot of actors but I'm told that you got the job on the "Green Hornet", where you played Kato the chauffeur mainly because you were the only Chinese-looking guy who could pronounce the name of the leading character, "Britt Reid"!

Bruce Lee: I meant that as a joke of course! And it's a heck of name, man! I mean every time I said it at that time I was super-conscious! I mean, really now, that's another interesting thing, huh? Lets say if you learn to speak Chinese...

Pierre: Yeah?

Bruce Lee: It's not difficult to learn and speak the words. The hard thing, the difficult thing, is behind what is the meaning: what brought on the expression and feelings behind those words. Like, then I first arrived in the United States and I looked at a Caucasian, and I really would not know whether he was putting me on or is he really angry? Because we have different ways of reacting to it...those are the difficult things, you see?

Pierre: Of course. It's almost as if you came upon a strange race where a smile didn't mean what it does to us. In fact, a smile doesn't always mean the same, does it?

Bruce Lee: Of course, not.

Pierre: Yeah, I just thought of that. Tell me about the big break when you played in Longstreet...

Bruce Lee: Ahh, that's it.

Pierre: I must tell our audience that Bruce lee had a bit part, or a supporting role in the Longstreet series and this had an enormous effect on the audience. What was it?

Bruce Lee: Well, you see, the title of that particular episode of Longstreet is called "The Way of the Intercepting Fist". Now I think the successful ingredient in it was because I was being Bruce lee.

Pierre: Yourself.

Bruce Lee: Myself, right. And did that part, just expressed myself, like I say, "honestly expressed myself", at that time. And I, because of that, brought, you know, favorable mentioning in, like, the New York times, which says, like, "a chinaman who, incidentally, came off quite convincingly enough to earn himself a television series" and so on and so on and so forth.

Pierre: Can you remember the key lines by stirling silliphant? The key lines?

Bruce Lee: He's one of my students, you know that?

Pierre: Was he too?

Bruce Lee: yes...

Pierre: Everybody's your student! But you read, there were some key lines there that expressed your philosophy. I don't know if you remember them or not....

Bruce Lee: Oh I remember them, I said....

Pierre: Let's hear...

Bruce Lee: This is what it is, ok?

Pierre: You're talking to Longstreet played by James Franciscus...

Bruce Lee: I said, "empty your mind, be formless, shapeless, like water. Now you put water into a cup, it becomes the cup. You put water into a bottle, it becomes the bottle. You put it in a teapot, it becomes the teapot. Now water can flow, or it can crash! Be water, my friend'...like that, you see?

Pierre: Yeah, I see, I get the idea. I get the power behind it...

Bruce Lee: Uh-huh....

Pierre: So, now, two things have happened; first there's a pretty good chance that you'll get a TV series in the states called "The Warrior", isn't it? Where you use what--the martial arts in a western setting?

Bruce Lee: Well that was the original idea. Now Paramount, you know I did Longstreet for Paramount, and Paramount wants me to be in a television series. On the other hand, Warner brothers wants me to be in another one. But both of them, I think, they want me to be in a modernized type of a thing and they think that the western idea is out! Whereas I want....

Pierre: You want to do the western!

Bruce Lee: I want to do the western because, you see, I mean, or else can you justify all of this punching and kicking and violence except in the period of the west? I mean, nowadays, I mean you don't go around on the street, kicking and punching people....(pretends to reach into his jacket for a gun) because if you do....(pulls out his imaginary gun and pulls the trigger) Pow! that's it. I mean, I don't care how "good" you are.

Pierre: Yeah, a gun, but this is true also of the Chinese dramas, which are mainly costume dramas. they're all
full of blood and gore over here!

Bruce Lee: Oh you mean here?

Pierre: Yeah.

Bruce Lee: Well, unfortunately, that's often the case. You see, I hope that the picture I am in would either explain why the violence was done...whether right or wrong, or what not...but, unfortunately, pictures, most of them here, are done mainly just for the sake of violence. You know what I mean? Like, you know, guys fighting for 30 minutes straight, getting stabbed 50 times! (acts like he is stabbing himself and knocks his microphone off his shirt)

Pierre: Well I'm fascinated, here, let me give you your microphone back...

Bruce Lee: I am a martial artist....

Pierre: I'm fascinated that you came back to Hong Kong on the verge of success in Hollywood...and full of it..and suddenly, on the strength of one picture, you become a superstar. Everybody knows you. You have to change your phone number. You get mobbed in the streets. Now what are you going to do? Are you going to be able to live in both worlds? Are you going to be a superstar here or one in the States...or both?

Bruce Lee: Well, let me say this. First of all, the word "superstar" really turns me off...and I'll tell you why... the word "star" man, it's an illusion. It's something what the public calls you. You should look upon oneself as an actor, man. I mean you would be very pleased if somebody said (punches his fist into his open hand) "man, you are a super actor!" It is much better than, you know, superstar. therefore, i...

Pierre: Yes, but you've got to admit that you are a superstar. You're not going to....you're not going to....if you're going to give me the truth!

Bruce Lee: I am now....I am honestly saying this, okay? Yes, I have been very successful, okay?

Pierre: Yeah....

Bruce Lee: But I think the word "star" is....I mean I do not look upon myself as a star. I really don't. I mean believe me, man, when I say it. I mean I'm not saying it because....

Pierre: What are you going to do? Let's get back to the question.

Bruce Lee: (laughs) Ok.

Pierre: Are you going to stay in Hong Kong and be famous, or are you going to go to the United States and be famous, or are you going to try to eat your cake and have it too?

Bruce Lee: I am going to do both because, you see, I have already made up my mind that, in the United States, I think something about the oriental, I mean the true oriental, should be shown.

Pierre: Hollywood sure as heck hasn't!

Bruce Lee: You better believe it man. I mean it's always that pigtail, bouncing around, "chop-chop", you know? With the eyes slanted and all that. And I think that's very, very out of date.

Pierre: Is it true that the first job you had was being cast as Charlie Chan's "number one son?"

Bruce Lee: Yeah, "number one son". (they both laugh)

Pierre: They never made the movie?

Bruce Lee: No, they were going to make it into a new Chinese James bond type of a thing. Now that, you know, "the old man Chan is dead, Charlie is dead, and his son is carrying on".

Pierre: Oh I see. but they didn't do that.

Bruce Lee: No, Batman came along you see. And then everything started to go into that kind of a thing.

Pierre: Like the Green Hornet?

Bruce Lee: Yeah.

Pierre: Which you were in...

Bruce Lee: By the way, I did a really terrible job in that, I have to say.

Pierre: Really? You didn't like yourself in that?

Bruce Lee: Oh, no.

Pierre: I didn't see it. Let me ask you, however, about the problems that you face as a Chinese hero in an American series. Have people come up in the industry and said, "well we don't know how the audience are going to take a non-American"?

Bruce Lee: Well, such a question has been raised. in fact, it is being discussed and that is probably why the warrior is not going to be on.

Pierre: I see.

Bruce Lee: You see? Because, unfortunately, such a thing does exist in this world, you see. Like, I don't know, in a certain part of the country, right? Where they think that, business wise, it's a risk. And I don't blame them..I don't blame them. I mean, in the same way, it's like in Hong Kong, if a foreigner came and became a star, if I were the man with the money, I probably would have my own worry of whether or not the acceptance would be there. But that's all right because, if you honestly express yourself, it doesn't matter, see? Because you're going to do it!

Pierre: How about the other side of the coin? is it possible that you, I mean you're fairly hip, and fairly Americanized, are you too western for our oriental audiences do you think?

Bruce Lee: I..oh man!..Like how....I have been criticized for that!

Pierre: You have, eh?

Bruce Lee: Oh, definitely. Let me say this: when I do the Chinese film I'll try my best not to be as.....American as, you know, I have been adjusted to for the last 12 years in the States. But when I go back to the States, it seems to be the other way around, you know what I mean?

Pierre: You're too exotic, eh?

Bruce Lee: Yeah, man. I mean they're trying to get me to do too many things that are really for the sake of being exotic. You understand what I'm trying to say?

Pierre: Oh sure.

Bruce Lee: So, it's really, I mean....

Pierre: When you live in both worlds, it brings its problems as well as its advantages, and you've got them both. Let me ask you whether the change in attitude on the part of the Nixon administration towards China has helped your chances of starring in an American TV series?

Bruce Lee: (laughs) well, first of all, this happened before that. But I don't think that things of Chinese will be quite interesting for the next few years...I mean not that I'm politically inclining toward anything, you know, but...

Pierre: I understand that, but I was just wondering....

Bruce Lee: But I mean once the opening of China happens, you know, I mean that it will bring more understanding! More things that are, hey, like different, you know? And maybe in the contrast of comparison some new thing might grow. So, therefore, I mean it's a very rich period to be in. I mean like, if I were born, let's say 40 years ago and if I thought in my mind and said, "boy, I'm going to star in a television series in America", well...that might be a vague dream. But I think, right now, it may be, man.

Pierre: Do you still think of yourself as Chinese or do you ever think of yourself as a north American?

Bruce Lee: You know what I want to think of myself? As a human being. because, I mean I don't wan to sound like ask Confucius, sayyyyyy...(joking) but under the sky, under the heaven, man, there is but one family. Iit just so happens that people are different.

Pierre: Ok, we've got to go...thank you Bruce lee for coming here, and thank you for watching...

Bruce Lee: Thank you, Pierre, thank you.