The Purpose of Patterns

Michael Rosenbaum's scholarly work Kata and the Transmission of Knowledge in Traditional Martial Arts seeks to identify the history, development, and original purpose of kata (forms) as a training excercise in warrior traditions throughout human history. His indepth account of the martial practices of ancient peoples and the influences which acted on their deployment of soldiers and the design of their weapons and armours gives the reader a new understanding of the esteem in which those warriors traditions held the practice of kata.

From the Introduction

"The great Chinese writer Chaung Tzu once said,

The fish trap exists because of the fish; once you've gotten the fish you can forget the trap. The rabbit snare exists because of the rabbit; once you've gotten the rabbit, you can forget the snare. Words exist because of meaning; once you've gotten the meaning, you can forget the words. Where can I find a man who has forgotten words so I can have a word with him?             

-(Chuang Tzu, 140)

Like the fish or rabbit trap, kata exists because of combat. Once its lessons were recorded and then understood, the form was set aside so that the "meanings" Chuan Tzu wrote of would become clear.

Although "kata" is a term used often by modern martial artists to describe pre-arranged sequences of techniques, the word is a by product of the Asian fighting arts. In actuality, the practice of combative techniques in pre-arranged forms is a methodology that has been used by many cultures throughout history, from the Roman soldier whose drills taught striking with the shield and then stabbing with his gladius, to modern day karate-ka whose kata is executed so crisply in their starched white gi. The use of kata or pre-arranged training routines is a long standing tradition that has been employed in most fighting arts in some form or fashion. Even in those societies whose combative systems may not have been subject to the same systematic methodologies, as is found within many Asian and European fighting arts, some means were used to preserve and to transmit martial knowledge. In some cases transmission of techniques was accomplished in a highly organized manner as during the Renaissance of Europe when mathematics, the printing press, and codified techniques all came together to present a highly scientific - and at times overly analytical - analysis of the fighting arts. Yet on other occasions, the transmission of technique has been accomplisherd in less formal, but still eloquent means. Thomas Arnold observed about the Swiss and their martial arts that,

This was an important development, for though the Swiss and the landsknechts certainly possessed elaborate, sophisticated and effective tactics, they apparently had almost nothing in the way of written drill. Theirs was a culture of war, not a science - it was taught by old soldier to new, and never was really codified or regularized.

-(Arnold, The Renaissance at War, 64)

In each case the intent was almost the same; to preserve and pass on knowledge of battle proven techniques, that could be used at a later date when the need warranted. These routines of transmission also allowed the man-of-arms to practice certain techniques in a repetitive manner. This allowed him to perfect skills and gain artistry that made the execution of his techniques nearly as natural as walking down a city street.

Kata and pre-arranged training routines were not the only methods used to transmit and preserve martial knowledge. Dance, poetry, and written texts were used extensively to record historical events and preserve knowledge related to a society, its existence, and its martial prowess. In the early English epic Beowulf, the power opens with mention of the "Spear Danes" and that "the kings who ruled them had courage and greatness." (Heaney, Beowulf, a New Translation, 3) Beowulf is not the only poetical verse that tells of a culture's martial prowess. Homer's Illiad is filled with passages that detail combat of the early Greek society and shows us that the development of sophisticated fighting arts by mankind is a very old practice. Dance was another medium used to practice and record martial knowledge. Both the Zulu tribes of Africa and early Filipino martial artists used dance to transmit techniques and even train warriors. The use of written text has also played an important role in spreading knowledge of the martial arts. In Europe during the Renaissance period the printing press proved to be of great value in the production and distribution of fighting arts manuals.

To study the history of kata and pre-arranged routines is to also explore methods of communication, as they went hand in hand with the practice of pre-arranged practice patterns. In fact, the same creative process that was used to develop dance, writing, and poetry was also used to create kata. Just as physical shape and form is given to what were often ideals of an abstract nature, kata embodies the essence of the arts of war. It allowed man to identify, segment, practice, and then transmit concepts and techniques that otherwise would be lost in the chaotic realm of hand-to-hand combat. As Joseph Campbell said about man's ability to give physical shape to such ideas, removing them from an abstract process and thereby giving both form and meaning to the process itself, "The craft holds the artist to the world, whereas the mystic, facing inward, may be carried to such an extreme posture of indifference to the claims of phenomenal life as that of the old yogi with his parasol of grass in the Hindu exemplary tale, "The Humbling of Indra" (Campbell, The Inner Reaches of Outer Space, 89) For the fighting arts practitioner, kata or pre-arranged training routines are the bonds that holds them to this world. They are the physical manifestation of the fighting arts. Without them, and the techniques of which they are comprised, we have nothing but theory.

For the pre-modern or classical martial artist, kata practice was not just an empty routine performed for aesthetically appealing reasons. It was instead a complicated training ritual used to instill martial behavioral patterns and responses that were critical to their survival. Kata and the use of pre-arranged routines, allowed the classical martial artist to preserve techniques and behaviors that had proven successful in mortal combat. They were the "craft," that Joseph Campbell spoke of that provided the warrior with a rationalized means to examine the battlefield's chaotic realm and then perfect ways to survive on it. Dr. Karl Friday said about the influence of Confucianism on Japanese martial arts and their own use of kata that;

This infatuation is predicated on the conviction that man fashions the conceptual frameworks he uses to order and therby comprehend the chaos of raw experience through action and practice. One might describe, explain, or even defend one's perspectives by means of analysis and rational argument, but one cannot acquire them in this way. Ritual is stylized action, sequentially structured experience that leads those who follow it to wisdom and understanding."

-(Friday, Legacies of the Sword, 105)

Wisdom and understanding. That is the purpose of the practice of kata. We do not practice our forms for the approval of others, nor for the beauty of their physical performance. We practice the forms to gain wisdom and understanding. The practice is study. Training. It instructs us in its very execution.

Drills -
Beginner: Practice your forms again and again until you can perform the movements without faltering or stopping. Once you can perform the form in this fashion, you can then begin to make the movements your own through repetition and the application of emotion.

Intermediate: Perform your forms with only the upper body moving and the legs held still. Then perform them with your arms still and only the legs moving. Practice your forms in this way again and again, but remember to return to the entire body performing. The purpose of isolating aspects of forms in this way is to focus on perfecting those specific movements, not to forgo your study of the rest of the pattern.

Advanced: Practice your forms with intensity and explosive breathing with each major movement. Then practice them with grace and smooth, flowing motions. Practice them with kiai and stomps, and again breathing through the nose and gliding across the floor. Learn from each of these activities. Make each of them your own.

Even the Masters Have Masters

At Dunham's Martial Arts, we practice a unique style of American Kenpo. Many of the Self Defense Techniques come from a tradition handed down from Grandmasters of the art's past. Our lineage can be traced back to the practices of the Shaolin temple monks of China themselves. It is an ancient battle art, thousands of years old, reflected through many cultures on its way to our school.

It began as a simple method of physical training and self defense. Our legends tell us that a Buddhist monk came to the Shaolin temple from India and requested entrance, but was denied. So he went in to the mountain caves and stared at the stone walls for nine years seeking enlightenment, until his image was burned into the stone. It was only then that he was allowed to enter the temple. Upon entry however, he found that his fellow monks were out of shape, sometimes falling asleep during mediation and unable to perform the physical demands of their order. Combat practices had existed in China since the semi-mythical Yellow Emperor first taught violence to man more than 4000 years ago, and the monk, whose name was Bodhidarma, incorporated those martial practices with a series of physical exercises which would come to be known as The Eighteen Hands of Shaolin.

While most likely apocryphal, there is no doubt that the rigid, stylized practices which the monks of Shaolin would later develop would revolutionize martial practices in China, and later, in the many parts of the world that their culture would influence. The Ming General Qi Jiguang included description of Shaolin Chuan-Fa, (少林拳法 "fist principles"; pronounced “shorin kempo” in Japanese) and staff techniques in his book, Ji Xiao Xin Shu (紀效新書), which can be translated as "New Book Recording Effective Techniques." When this book spread to East Asia, it had a great influence on the development of martial arts in regions such as Okinawa, Japan, and Korea.

It is sometime during this period that our oldest known martial arts ancestor can be somewhat confidently identified. He is a man named Peichin Takahara who taught Chuan-Fa in the Shuri region of Okinawa. He was a monk who was revered as a great warrior and taught compassion and love while emphasizing dedication both to knowledge of the techniques and to physical practice and hard training. Beyond Takahara, we have only semi-legendary martial arts masters and warriors from China and Japan. His student, Kanga Sakukawa became such an expert that people simply called him “china hand” and taught Te; which would later be know as Shuri-Te after the region it was practiced in. His student Matsumura Sokon practiced Shuri-Te and was never known to have lost a duel. He taught Anko Itosu who taught in his Ten Precepts that his own Shorin-Ryu was, “not intended to be used against a single assailant but instead as a way of avoiding a fight should one be confronted by a villain or ruffian.” His student Choki Motobu studied with other future Masters such as Gichin Funakoshi and would go on to found Motobu-Ryu.

Now, here things get a little more difficult to pin down. During the 1930s a Hawaiian born man of Japanese descent named James Mitose began teaching kenpo and after the attack on Pearl Harbor, he taught the art to American civilians on the island to prepare them for a possible Japanese invasion. Where he received his martial arts training is a matter of some debate. He called his art Koshoryu (old pine tree school) Kenpo Jiu-Jitsu. He seemed to attribute his art to the teachings of Choki Motobu, although there isn't any record of him training under Motobu, and some people also claim he was taught Yoshida Kenpo from his grandfather. The art he taught appears to be based on the practices of Japanese and Okinawan martial arts descended from the earlier Chinese Chaun-Fa. He would go on to teach William Kwai Sun Chow, known as Thunderbolt for his hard hitting techniques, who would call the art he would pass on to his students Kara-Ho Kenpo which is still practiced by more than 10,000 students, most in the United States. One of those students was Ed Parker, who brought the art to the mainland, where he attempted to incorporate more of the traditional chinese movements of its earlier roots with modern self defense applications drawn from common street encounters into an art he would eventually call Ed Parker's American Kenpo.

Ed Parker taught a number of students, many of whom have gone on to found their own systems of martial arts. Two of those students were brothers, Al and Jim Tracy, whose Tracy's Kenpo is now a worldwide organization that emphasizes the earlier teachings of Mr. Parker. One of their students, Jim Mitchell, would also train under Mr. Parker himself, and would then go on to teach Mitchell System Kenpo Karate as his own style of what he learned from his teachers.  A student of his, Theron Sturgess, now teaches his own systematic approach to learning martial arts at Dynamic Edge Martial Arts.  Today Rob Sandwell, who spent close to a decade learning from Mister Sturgess, teaches his own approach to the kenpo system designed to foster real combat skills at all ranges of combat.

And that brings us to you. You are learning the Sandwell Method. But like the many Masters before you, it is your challenge to make it your own. To internalize the lessons passed down to you by your instructors and to express your knowledge of the arts in your own unique way. This practice is handed down, instructor to student, and has been for thousands of years since the legendary Yellow Emperor. Each generation, each culture, leaves its own unique mark on what they inherit and passes something new on to the next generation.

Shaolin Chuan-Fa, Te, Shuri-Te, Shorin-Ryu, Motobu-Ryu, Yoshida Kenpo, Koshoryu Kenpo Jiu-Jitsu, Kara-Ho Kenpo, Ed Parker's American Kenpo, Tracy's Kenpo Karate, Mitchell System Kenpo Karate, Dynamic Edge Martial Arts, Sandwell Method. What will the next art be? What will you bring to the art? What will your students call it someday?

It is important to know the lineage of your art, because it is the path by which the knowledge you hold came into your hands. We owe much to our martial ancestors for devoting themselves to preserving the traditions and practices we engage in today. But we owe an equal debt to our descendants, to be more than a kenpo practitioner. We must be martial artists, and like all artists, we must create.

Create a great day. Create a new art. Create a tradition and history worth remembering. Become a legend of your own. Kenpo will continue on in to the future, and the students of tomorrow will speak of the practitioners that came before them. It is a chain unbroken that leads directly to every student.

You are the next great Master of Kenpo.

Drills -

Beginner: Practice each of your techniques with seriousness and commitment. You are only as good as your basics. Practice each hand and foot technique ten times, each side, on the bag and B.O.B. Look to your senior students for advice on execution and training methods.

Intermediate: Learn the principles and theories behind the techniques. Understand why the stances are structured the way they are and how to use those stances in combat. Practice upper and lower body blocks and strikes with a partner from each of the stances in your sets. Look for opportunities to work with lower rank students and set a positive example for them by your knowledge and diligence.

Advanced: Learn how to transmit knowledge to younger students. Learn how to do, but also how to teach. Begin with your first techniques and practice teaching them by the numbers, in the air and on the body. Identify key principles and movements important to each technique and practice demonstrating these to students. Come up with three drills each for teaching kicking, punching, and blocking.

The Passing of a Fitness Legend

by Claudia Luther, special to the LA Times
http://http//www.latimes.com/news/obituaries/la-me-jack-lalanne-20110124,0,5507436,full.story

Jack LaLanne, the seemingly eternal master of health and fitness who first popularized the idea that Americans should work out and eat right to retain youthfulness and vigor, died Sunday. He was 96.

LaLanne died of respiratory failure due to pneumonia at his home in Morro Bay, Calif., his agent Rick Hersh said. He had undergone heart valve surgery in December 2009.

Though LaLanne was for many years dismissed as merely a "muscle man" — a notion fueled to some extent by his amazing feats of strength — he was the spiritual father of the health movement that blossomed into a national craze of weight rooms, exercise classes and fancy sports clubs.

LaLanne opened what is commonly believed to be the nation's first health club, in Oakland in 1936. In the 1950s, he launched an early-morning televised exercise program keyed to housewives. He designed many now-familiar exercise machines, including leg extension machines and cable-pulley weights. And he proposed the then-radical idea that women, the elderly and even the disabled should work out to retain strength.

Full of exuberance and good cheer, LaLanne saw himself as a combination cheerleader, rescuer and savior. And if his enthusiasm had a religious fervor to it, well, so be it.

"Well it is. It is a religion with me," he told What Is Enlightenment, a magazine dedicated to awareness, in 1999. "It's a way of life. A religion is a way of life, isn't it?"

"Billy Graham was for the hereafter. I'm for the here and now," he told The Times when he was almost 92, employing his usual rapid-fire patter.

Another time, he explained, "The crusade is never off my mind — the exercise I do, the food I eat, the thought I think — all this and how I can help make my profession better-respected. To me, this one thing — physical culture and nutrition — is the salvation of America."

When he started, he knew that most people viewed him as a charlatan. That's when he decided to do the stunts that made him famous.

"I had to get people believing in me," he said.

He performed his first feat in 1954, when he was 40 and wanted to prove he wasn't "over the hill." He swam the length of the Golden Gate Bridge — underwater. (He carried two air tanks.)

Other feats in his 40s: swimming from Alcatraz to San Francisco's Fisherman's Wharf wearing handcuffs; swimming the Golden Gate Channel while towing a 2,500-pound cabin cruiser; pulling a paddleboard 30 miles from the Farallon Islands to the San Francisco shore.

At age 60, he upped the ante by swimming from Alcatraz to Fisherman's Wharf in San Francisco, handcuffed and shackled and towing a 1,000-pound boat.

The next year, he did a similar feat underwater. And at age 70, he towed 70 boats with 70 people from the Queen's Way Bridge in Long Beach Harbor to the Queen Mary — while handcuffed and shackled.

Why attempt such feats?

"I care more than — you cannot believe how much I care! I want to help somebody!" LaLanne explained. "Jesus, when he was on Earth, he was out there helping people, right? Why did he perform those miracles? To call attention to his profession. Why do you think I do these incredible feats ? To call attention to my profession!"

Well into his late 80s, LaLanne continued his personal fitness routine of two hours a day — one hour of weight training and another hour exercising in the pool — beginning at 5 or 5:30 in the morning (a concession to his age; in earlier days, he started at 4 a.m.).

No one — not even Arnold Schwarzenegger — could argue that LaLanne wasn't the best. Schwarzenegger, who met LaLanne in the 1960s on Muscle Beach on the Venice Boardwalk, said LaLanne would try to see who could match him in numbers of chin-ups and push-ups.

"Nobody could," Schwarzenegger told The Times. "No one even wanted to try."

Francois Henri LaLanne (nicknamed Jack by his brother) was born Sept. 26, 1914, in San Francisco to French immigrant parents; his father worked at the telephone company and was a dance instructor and his mother, who was a maid, was a Seventh-Day Adventist, a religion that advocates "eight keys" to good health, including nutrition and exercise.

LaLanne grew up in Bakersfield, where his parents had moved to become sheep farmers, but the sheep contracted hoof-and-mouth disease, and the family moved to Oakland. LaLanne's father died of a heart attack at age 50.

LaLanne often told the story of how his mother spoiled him, giving him sweets as a reward. By the time he reached adolescence he had become a "sugarholic" with a violent temper and suicidal thoughts.

But that was only the beginning: He was failing in school, his stomach was upset, he wore glasses, he had terrible headaches, he was weak and skinny, he had pimples and boils.

"I was demented! I was psychotic! It was like a horror movie!" LaLanne said of this time of his life.

When he was 15, his distressed mother dragged him to a lecture on healthful living being given by nutritionist Paul Bragg.

"We were a little late getting there and there were no seats available so we started to leave," LaLanne told What Is Enlightenment magazine's Andrew Cohen, "and the lecturer saw us and said, 'Lady with the boy, we don't turn anybody away! Ushers, bring two seats and put them up on the stage!' "

At some point, Bragg asked the young LaLanne what he had eaten for breakfast, lunch and dinner, and LaLanne told him: "Cakes, pies, ice cream!"

"He said, 'Jack, you are a walking garbage can,' " LaLanne said.

But Bragg offered salvation to LaLanne: He could be "born again" and be the healthful and strong person he wanted to be — if he changed his ways.

"That's what I wanted! I wanted to be an athlete, I wanted the girls to like me, and I wanted to be able to get good grades in school, and this man said I could do all that," LaLanne said.

LaLanne took Bragg's message fully to heart. And, by his own testimony and that of everyone around him, he never had cake, pie, ice cream or any sweet from that day forward, nor did he drink a single cup of coffee or tea.

He also started working out with a passion and was a star athlete for the rest of his high school years. All his maladies disappeared; he even stopped wearing glasses.

"I was a whole new human being," he said of this transformation. "I liked people, they liked me. It was like an exorcism, kicking the devil outta me!"

After graduation from high school, LaLanne started his own business selling his mother's healthful bread and cookies. He also set up a rudimentary gym and started training police officers and firefighters — "the fat and skinny ones who couldn't pass their physicals" — in exercise and weightlifting.

"When I first started out, I was considered a crackpot," he said. "The doctors used to say, 'Don't go to that Jack LaLanne, you'll get hemorrhoids, you won't get an erection, you women will look like men, you athletes will get muscle-bound' — this is what I had to go through."

In 1936, he opened his first real gym — LaLanne's Physical Culture Studio in downtown Oakland.

But business was slow. LaLanne went to a local high school and picked out the skinniest and the fattest students, offering (with their parents' permission) to "turn their lives around" the way his had been.

Word of his success spread, and business was good enough for him to open other gyms. In 1952, he went on TV, but because he could only afford time in the early mornings, he found his audience was mostly young children. So he got a dog — Happy — to appeal to the kids, who were encouraged to go wake up their mommies for a workout. The show was eventually syndicated nationwide and ran for 34 years.

LaLanne met his wife, Elaine, whom he called LaLa, in 1950 on the set of a local TV show, where she booked talent. She was initially unimpressed by the 5-foot-6 1/2-inch LaLanne — she ate a doughnut and blew cigarette smoke in his face. But she took a closer look at him when a friend agreed to go out on a date with him. They were married in 1959, and she became an integral part of his business.

LaLanne's business interests would grow to include a string of gyms across the United States, workout devices like the "Glamour Stretcher" and "JLL Stepper," vitamins, supplements and several books.

By the time LaLanne was in his late 80s, however, the business consisted mostly of juicers that he advertised on infomercials and his lectures.

LaLanne also knew when to back off. An interviewer described him as "intensely unfussy for being such a fanatic." And LaLanne once said that one of his best friends was a man who "weighs about 300 pounds, drinks a quart of booze a day and smokes like a fiend. I'll light someone's cigarette for them. This bull about changing people — you never change people! Accept 'em, accept 'em, accept 'em!"

For himself, he seemed to live by a there-but-for-the-grace-of-God-go-I philosophy that required him to be hyper-vigilant.

"With my personality," he said, "I could be a runaway, out with a different woman every night, drunk every night, eating and doing things that — well, you know, you've got it in you, we've all got it in us. But that's why you've got to take control!"

He had his pleasures — beautiful cars, singing, fine wine and a long and happy marriage that he said was passionate after many decades.

He felt proud every time he fulfilled his promise to himself to never eat between meals or eat sweets. While he was the first to agree that his liquid meals — the least repulsive breakfast was carrot juice, celery juice, some fruit, egg whites and soybean — tasted pretty awful, he didn't mind. And of his two-hour daily workouts at his home gym, which he called his "cathedral," he said: "I want to see how long I can keep this up. It's kind of a macho thing, using me as an example."

LaLanne retained a high level of energy well into what, for the rest of us, would be dotage. But his feats tapered off after his 70th birthday. Although he talked of swimming underwater to Catalina Island for his 80th birthday, his wife threatened to divorce him if he did. "Let him rest on his laurels," she said. He vowed to do the swim for his 90th birthday in 2004, but when the birthday rolled around, he told the San Jose Mercury News that he planned only to "tow my wife across the bathtub." His plans for his 100th were even tamer: "I'd like to have the biggest group I've ever had watching me and lecture to them."

LaLanne was given a star on Hollywood's Walk of Fame in 2002, long after he had attained the respect he long craved. But his biggest thrill was to see that what he had been preaching and advocating for more than 50 years was being taken seriously.

"Back then I was a crackpot; today, I am an authority," he said in 1998.

Besides his wife, LaLanne is survived by Elaine's son, Dan Doyle, of Los Angeles; LaLanne's daughter by his first marriage, Yvonne, a chiropractor, of Walnut Creek; and the couple's son, Jon, of Kauai, Hawaii.

Happy 70th Birthday

I once saw Mr. Parker quoted saying, “If you show the kid something, the first time he tries it, he's almost as good as you. The second time he tries it, he might be as good as you. And the third time, unless you're really good, he'll be better than you."

The man he was referring to would go on to become one of the most well recognized martial arts icons of the twentieth century. Although his life would be short, the legacy he left behind in his films, books, philosophy, and martial arts teachings would reach farther than perhaps even he could have imagined. Born Lee Jun-fan, the world would come to know him as Bruce Lee.

Born in California in 1940, he would spend most of his childhood being raised in Hong Kong. As a young man, Lee was involved in a number of street fights which escalated to the point that the police became involved. In an effort to turn their son's life around, his parents sent him back to America in the late 1950's to live with family friends. Lee continued his education, studying drama and philosophy in college, and began teaching his own approach to the Wing Chun Gung Fu he'd learned during three years studying under Master Yip Man before leaving Hong Kong.

Lee's life from there has become a well worn mythology. There are historical incidents like his appearance, at Mr. Parker's invitation, at the 1964 Long Beach International Karate Championships where he would famously demonstrate his one inch punch technique. Or his now fabled fight with rival Wing Chun instructor Wong Jack Man, ostensibly for the right to teach Gung Fu to Americans. His short movie career included the famous “Enter the Dragon,” as well as the infamous “Game of Death,” finished posthumously with body doubles and voice overs.

And of course, there was his untimely end. Lee died in his sleep from an adverse reaction to an over the counter pain medication he took to treat a headache. The medical explanation for his death was a cerebral edema. The forensic coroner who performed his autopsy labeled it “death by misadventure.”

Lee left a great legacy of film work, philosophy, and martial arts instruction. He taught three distinct styles of martial arts in his lifetime. The first was Jun Fan Gung Fu, his interpretation of the Wing Chun taught to him in Hong Kong. The second was Jeet Kune Do as a series of drills and techniques incorporating Wing Chun and elements of western boxing, fencing, jujitsu, and a variety of other techniques. Later, Jeet Kune Do would continue to evolve in a more philosophical direction to become his “style of no style,” a principle based, inclusive form of fighting which emphasized freedom and spontaneity in the practitioner.

His teachings continue through Dan Inosanto; the only one of three instructors ever certified by Lee while still alive and actively teaching today, and himself a black belt under Mr. Parker before joining Lee's school. Martial artists around the world, in many different styles and systems, familiarize themselves with his teachings in order to inform their own approach to training and combat.

Lee was a phenomenally gifted natural athlete who challenged the social conventions of his time, in every part of his life. He refused to accept the limitations others tried to place on him because of his race, or his age, or his chosen profession. I have heard him described as brilliant, cocky, humble, hungry, a visionary, disrespectful, loving, and generous. In his day, he was controversial and disruptive, always pushing those around him further than they thought they were ready to go, and often dragging them along by virtue of his indisputable charisma and will. He was a brightly burning flame, a man of many gifts who didn't live nearly long enough to fulfill his own potential; and yet somehow left an indelible mark on the world none the less. The Masters of his era called him a natural. They invited him into their homes and their schools, and he became their student and their friend.

Bruce Lee benefited from exposure to many great martial artists, including Yip Man, Ed Parker, Gene Lebell, Wally Jay, Bob Wall, Chuck Norris, and Joe Lewis. He was also deeply dedicated to physical conditioning and nutrition. His wife frequently remembers him as a man who spent much of his time exercising both his body and his mind. The combination of his exposure to true Masters, his philosophical approach, and his natural athleticism and dilligent physical training made him an accomplished and impressive practitioner.

I have heard that Mr. Parker and Bruce would discuss their respective philosophies on martial arts until late into the night, and when you read their writings the evidence is unmistakeable. Many of the concepts taught by both these men are similar; both because they shared their knowledge, and because they both took a rational, unbiased approach to understanding combat. This was perhaps the greatest martial legacy of Bruce Lee's too short life.

He taught his students to be formless and unbiased, not to be rigidly bound by their techniques, but to be free and do what was necessary to win. He taught his students to have an open mind. He pushed boundaries and challenged social norms. He changed the face of film making, martial arts, and race relations. And he challenged everyone around him, everyone who heard of him, to push themselves as well.

Bruce Lee died too young. We'll never know what kind of Master he could have become. Or what kind of film maker. But we know that in his short time he changed the world, and he loved and was loved. His name will never be forgotten. Not by his students. Not by his family. Not by his friends.

That is a legacy we can each only hope to equal.