The human arm can break as a result of a blow, twist or lock. The resulting fracture can involve the upper arm, the forearm and/or the shoulder girdle. An injury to the upper arm affects the humerus bone. At its top end, it forms the shoulder joint with the glenoid, which is part of the scapula. At the bottom end, it forms the elbow joint with the radius and ulna. The humerus is surrounded by muscles that move the shoulder and elbow joints; they include the pectoralis, deltoid, biceps, triceps, brachialis, brachioradialis, and forearm flexor and extensors. Depending on where the humerus breaks, nerves and vessels also may be affected. At the top end of the humerus is an anatomical region defined as the surgical neck. Fractures above this level are technically considered shoulder fractures. At the bottom end is the supracondylar region; any fracture below it has different considerations and treatment. Because of space limitations, this column will focus on humeral shaft fractures—that is, those that occur below the surgical neck and above the supracondylar distal humerus. WHEN A PERSON SUFFERS a broken humerus, he experiences immediate pain. The arm may be noticeably crooked, and swelling may be evident. If the bone penetrates the skin, it’s referred to as an open fracture and demands emergency treatment, usually surgery to wash out the wound and repair the break. If the fracture is closed, nonoperative treatment is the norm, but there are exceptions in which surgery is required. After an injury has occurred, the physician will likely perform a clinical exam of the nerves and blood vessels that lead to the hand. One of nerves that can be injured during a humeral shaft fracture is the radial nerve. At its most distal end, it provides sensation over the top of the hand in the space between the thumb and index finger. The nerve also enables the extension of the wrist and fingers. If the radial nerve is injured, surgical exploration and repair are often called for, perhaps requiring a plastic surgeon. A closed fracture of the humeral shaft that doesn’t involve nerve injury can generally be treated nonoperatively. Because lots of soft tissue (i.e., muscles) surrounds the humerus, there’s good blood supply to the area. That facilitates healing and means treatment often requires only a functional brace to be wrapped around the limb. It takes a minimum of six weeks for a closed fracture to heal, after which use of the brace can be discontinued and physiotherapy started. The martial artist should refrain from training until the fracture has completely healed and arm functionality has been restored—which can take three months or longer. CERTAIN CLOSED FRACTURES warrant surgery. The decision to operate depends on how bad the fracture appears in an X-ray. If there’s a big gap between the two ends or severe bending/angulation—or if the two ends are smashed—surgical treatment is often recommended. The surgeon may elect to use plates and screws or a nail to stabilize the bone. Surgery also may be required if other bones in the same arm are broken—for example, if the forearm or shoulder girdle is broken in addition to the humerus. Such multiple-level injuries are relatively uncommon in the martial arts because of the mechanism and amount of energy that must be imparted to the arm. Note that if a “normal” amount of force causes such a break, the possibility of a pathologic fracture should be investigated. There could be a bone abnormality (e.g., osteoporosis or a tumor) that’s made it weaker than normal. NO MATTER HOW IT HAPPENS, a fracture of the humerus is dramatic. It will almost always stop the martial artist from training or competing and force him to seek medical attention, and chances are he won’t be back in the dojo anytime soon. For that reason, all practitioners should take care to minimize the risk. If you apply a technique that targets the arm, do it in a controlled fashion and be sensitive to your partner’s tapout. If you’re on the receiving end, physically or verbally submit before the pain becomes unbearable. Remember that in class you must strive for a balance between creating the intended effect and injuring your partner’s arm.

Brazil is the fifth-largest nation in the world. A former colony of Portugal, it derives much of its culture—as well as its religion and language—from its mother country. African traditions also have left their mark on Brazil—witness the dancelike fighting art of capoeira. But the South American nation’s claim to fame in the martial arts world is surely Brazilian jiu-jitsu. THE FIRST TIME I visited Brazil for training purposes, I had only six months of jiu-jitsu under my belt. Because I was in the soaking-up-information mode, I wore a white belt—which wound up being no problem at all because beginners are welcome in Brazilian dojo. My advice: If you’re new to the art, pace yourself and stay within your comfort zone. Pushing too hard can cause an injury that ruins the rest of your trip. The following are a few other tips for martial artists who decide that Brazil is the place to fine-tune their grappling skills: KNOW the basic movements, especially breakfalling and rolling, before you go. START stretching as soon as you can. You don’t want to be sidelined by an intensive training session. LEARN the rules of the dojo at which you choose to train. Some facilities have specific regulations for beginners—for example, leg locks may be prohibited. FOLLOW the Brazilian way. Although the atmosphere won’t be as formal as in the typical Asian dojo, you’ll still be expected to address your training partners and teachers with courtesy and respect. RAMP up your cardio. You’ll perform better on the mat and get more from the lessons because you’ll be able to focus on the techniques instead of on catching your breath. STUDY the language. Even if you learn only a few words of Portuguese, your efforts will be appreciated by every local you meet. MY TRIP TO BRAZIL took me to the Gracie Academy, making it a martial arts pilgrimage of sorts. The dojo is located on the second floor of a Catholic school in downtown Rio de Janeiro. Walking through the gate, I followed my teacher, Louis Vintaloro, up the steps. I wasn’t sure what to expect, but he knew his way around because he’d been to Brazil a few times. Halfway up the stairs, everything went black. Turns out Rio sometimes loses power during hot spells. It didn’t seem to bother anyone, however. We continued up the stairs, and once inside the school, I noticed all the students were still training. No doubt grappling in the dark fine-tunes tactile senses. After a few minutes, the power came back on, and life returned to normal. Royler Gracie taught most of the classes at the school. When he was traveling or competing, his brother Rolker would take over. The facility regularly hosts visitors from around the world, so the staff is used to dealing with English-speaking foreigners. In addition to the techniques I picked up, I also learned some valuable lessons that will stay with me for the rest of my martial arts career. First off: The experience reinforced the fact that the essence of being a martial artist is to never stop seeking knowledge. Don’t fall into the trap of thinking you don’t need to learn new moves or training methods. It can be intimidating when everyone else in class seems to know more than you, but don’t let your ego get in the way. Making mistakes, forgetting the details, constantly being caught in bad positions—it’s all part of the Brazilian jiu-jitsu experience. And you know what? Nobody cares. The only person keeping track of you is you. IF YOU’RE READY TO ROLL on the mat in Rio, start making plans now. You’ll need a passport and visa to enter Brazil. Get the passport from your country of residence and snag a basic tourist visa, available from the Brazilian Embassy or a Brazilian Consulate in your country, for a stay of three months or less. For an extra fee, travel agencies can help you obtain one through the mail. Airline fees tend to discourage travelers from carrying a lot of luggage these days, and that’s fine because the only thing you’ll need is several changes of shorts, a pair of flip-flops and your gi—which, by the way, is called a kimono in Brazil.

Photos by Peter Lueders An Ex-KGB Agent Who’s Also a Master of Combat Sambo, Systema and Judo Fills You In On Knife Defense! If you read our November 2010 issue, you no doubt remember Val Riazanov, the martial arts expert featured in “Punch Line: Mastering the Ballistic Strike.” For those who didn’t see the article and can’t wait to find out who Riazanov is, know this: The former KGB agent is a Russian special-forces vet and a systema instructor certified by Mikhail Ryabko. He’s also a combat-sambo master who owns a sixth-degree black belt in judo. Translation: He knows what he’s talking about. Val Riazanov launches right into his lecture on knife defense rather matter-of-factly, especially when you consider the lethality of the topic. “If you’ve ever been stabbed before, you know that what a lot of people teach isn’t very practical,” he says. I immediately believe he’s been stabbed, probably more than once. “A knife is a nasty thing,” he continues after a pregnant pause. For effect, he executes a simple low thrust with a training blade—the kind of attack most martial artists want their demonstration partners to feed them—and his opponent blocks easily. Just as the other guy starts to look proud of himself, Riazanov redirects his blade and stabs him several times while he fumbles to block. Point taken. “Even a man whose only experience with a knife comes from cutting a chicken should be considered dangerous when he’s angry,” Riazanov says. “If a man has ever put a knife into the flesh of a human, he should be considered really dangerous.” When faced with a blade, Riazanov continues, you have two choices: “You can give him whatever he asks for, and then you might or might not get stabbed anyway. Or you can try to do something about it.” You should try to do something about it, he says, only if you think you’ll have no psychological issues with the outcome, which obviously can entail you getting cut, him getting cut or both of you getting cut. If you get stabbed, get almost stabbed or actually do the stabbing, he says, there’s a good chance you’ll have psychological issues to deal with afterward. Once again, I believe he’s speaking from experience, and it’s that experience that’s pushed him toward a more realistic approach to knife defense. SERIOUS BUSINESS “The main thing about knife defense is you don’t play games with techniques,” he says. For emphasis, he has his opponent execute a half-speed horizontal slash, and he does a conventional two-hand grab of the knife arm, which is followed by a chop to the neck, a kick to the leg and a strike to the knife arm—each one punctuated by an exaggerated kiai. That bit of comedy sets the stage for one of his preferred defenses. “When the knife comes in, you’ll probably have time to move only your stomach away, so that’s all you do,” he says. Western martial artists often call this method of avoiding a blade “hollowing out.” Riazanov almost subconsciously uses his hand to “help” the weapon continue along its original path, which is to the attacker’s left, or across the front of his body. I say “almost subconsciously” because depending on the nuances of the attack and his position relative to the other man, he switches back and forth between using his left hand and using his right. It’s a minor detail, apparently. “At the same time, you strike,” Riazanov says as he pops a punch into the man’s chin. Earlier in the day, he talked about the value of even low- to medium-power punches that are delivered while the opponent is moving toward you. Seems the speed of your fist is boosted by the velocity of the attacker. Couple that with a precision strike to a vulnerable spot like the chin, and you have a blow that can sap the enthusiasm of any attacker, especially if he’s not expecting to be hit. Riazanov then demos a series of disarms that mesh with what he just did. Most of them include immobilizing the knife hand and stripping the knife, at which point he can opt to finish his opponent using the blade, to inflict pain using the butt of the handle on a pressure point or to coax him into behaving by judiciously pricking the skin with the tip. “Whatever you do now,” he says, “never let go of the knife.” JACK-OF-ALL-TRADES To drive home his next point, Riazanov grabs the training knife and instructs his partner to take it away. He can’t break the Russian’s grip even though he tries a variety of angles and hand positions. “See how much struggle there is?” Riazanov asks. “All it takes for me is this …” and he yanks his knife hand backward, breaking the grip of the opponent, after which he proceeds to carve him up like a Thanksgiving turkey. The lesson is clear: Mastering the art of the knife entails knowing how to use it, how to defend against it, how to maintain your grip on it and how to break your attacker’s grip. He hands the weapon to the opponent—“You hold it!”—and with his left hand momentarily placed against the back of the man’s knife hand, Riazanov uses the heel of his right hand to leverage the opponent’s thumb back, causing him to release the weapon. It looks so simple. Riazanov returns the knife to him and says, “This time don’t hold it that tight.” With his opponent expecting the same technique, Riazanov raps him on the knuckles using his own knuckles. The weapon falls to the floor. The third time, all he says is “Biomechanics.” With his left hand, he grips the man’s forearm, and with his right, he grabs the back of the knife hand—then brings them together as if he’s snapping a giant toothpick. The man’s wrist folds, and the pressure Riazanov applies to the knife handle in the direction of the thumb causes the knife to be released. The Russian establishes a grip on the weapon and pretends to slice his foe’s biceps. Quick to please, Riazanov runs through several more disarms, one of which involves using the knuckles of his right fist to drill the man’s forearm so he can effortlessly peel the knife out of his grip, again in the direction of the thumb. Another one has him fending off an attack in which the assailant gets close enough to press the tip of the weapon against his chest. Riazanov uses the back of his hand to push against the side of the blade, angling it down and then back toward the attacker. It winds up in his hand, so of course he uses it against him. In more than a few of the examples, Riazanov manages to cut the assailant with his own weapon even though he’s still clutching it. Biomechanics, as he said earlier—control the limb, bend it in a direction that severely reduces its strength and then apply enough force to ensure it does your bidding. The defenses that don’t involve counter-cuts take advantage of a quick strike to the chin or throat and even a short stomping kick to the nearest shin, followed by a takedown. RESOLUTION That takedown is Riazanov’s cue to explain his philosophy on effective follow-ups. “When you throw someone on the floor, there’s a very small chance he will come up—however much he’s trained—because the concrete floor is very different from the dojo floor,” he says. “With concrete, once you’re down, you’re down if you don’t know how to fall.” To illustrate the seriousness of the takedown and highlight a method for initiating it, Riazanov steps to the rear with one foot and then pivots as the opponent slashes—all while facing the weapon, of course. “When the knife is approaching, you let it go by and move away from the attack,” he says. As he steps and turns, he grabs the opponent’s wrist with his left hand and pushes down near the crook of the elbow with his right, taking him to the ground. “It’s a typical technique you’d see in sambo or judo,” he says. “Once he’s down, your knee goes just behind the elbow, into the triceps area.” A standing armbar results, but Riazanov immediately applies additional pressure with his knee to roll the man onto his stomach, his knife hand still trapped. “Then you take the blade, and if you have to hold him, you hold him,” he says. “If you have to disable him, you cut the tendon in his arm—you don’t have to get nasty. If you have to take him somewhere, you put the point of the knife against the crook of his arm—it’s not very nice—and he will come up as quick as he can. Then you stick it under his armpit and walk him. He’ll walk anywhere you like. If he resists, he bleeds a little.” “Even with the rubber knife, it hurts,” Riazanov’s training partner volunteers. THEORY AND PRACTICE Most of Riazanov’s knife defenses involve creating what he calls initial shock. For some of them, he hits the knife arm to distract, maybe causing the opponent to drop the weapon. For others, he clips him on the chin or drives his open hand into his throat before throwing. Occasionally, he kicks the inside of the kneecap with the bottom of his foot, collapsing the supporting leg so he can more easily take away the knife. “You have to be extremely precise with things like this, though,” he says with a smile. Once you’ve inflicted that initial shock, don’t get overconfident—even if your opponent is on his back, Riazanov cautions. “At that point, it’s not over. He will struggle and punch and kick—especially if he’s under the influence of drugs or alcohol. Here’s a little trick: As he desperately struggles to [regain control of his knife], you do this!” He drops his knee into the man’s gut. “Now it’s easy to take the knife away, and you didn’t do any damage.” He then demos a variation in which he drops his knee onto the man’s face. It would seem to be a bit more damaging—something he learned in the KGB, no doubt. “All this is good to practice,” Riazanov says before he ends the lesson. “But try to learn it from someone who’s been stabbed before—so they know what they’re talking about.”

From Brandon Lee and Jet Li to Wesley Snipes and Donnie Yen, these martial arts stars brought their fighting skills to a world of vampires, monsters, and supernatural warriors. Halloween is the season for haunted houses, masked killers, and things that go bump in the night. But what happens when those things come face-to-face with some of the world's greatest martial artists? Throughout film history, martial arts stars have battled everything from bloodthirsty vampires and resurrected warriors to demonic ninjas and supernatural creatures. These films combine the thrills of horror with the excitement of martial arts, delivering a different kind of Halloween entertainment. Some are genuinely frightening. Others are packed with outrageous action and dark humor. And several feature familiar faces who have graced the pages of Black Belt Magazine, Fighting Stars, and Karate Illustrated. So, if you're looking to add a little fighting spirit to your Halloween movie marathon, here are 10 films worth watching. The ninja master himself, Sho Kosugi 10. Ninja III: The Domination (1984) What could be more terrifying than a ninja? How about a ninja who refuses to stay dead? In this wonderfully bizarre 1980s cult classic, an aerobics instructor named Christie (Lucinda Dickey) becomes possessed by the spirit of a murderous ninja. As the supernatural assassin takes control of her body, she embarks on a deadly mission of revenge. Enter Sho Kosugi, the Japanese martial arts star who helped popularize ninja cinema in America. Playing Yamada, a ninja warrior determined to stop the possessed Christie, Kosugi brings his signature weapons work and martial arts expertise to an otherwise outrageous supernatural adventure. Part possession horror, part ninja action spectacle, Ninja III: The Domination is a perfect reminder that 1980s martial arts cinema wasn't afraid to get weird. 9. Mortal Kombat (1995) Few martial arts movies feature a collection of villains quite as intimidating as those found in Mortal Kombat. Based on the wildly popular video game franchise, the film follows Earth's greatest fighters as they enter a supernatural tournament to prevent the forces of Outworld from conquering humanity. Among the competitors are undead ninja Scorpion, played by martial artist Chris Casamassa, and the monstrous four-armed Goro. Meanwhile, Cary-Hiroyuki Tagawa delivers a memorable performance as the sinister sorcerer Shang Tsung. Although Mortal Kombat leans more toward fantasy than traditional horror, its demonic creatures, supernatural warriors, and otherworldly setting make it an entertaining Halloween selection. The film also helped introduce a generation of moviegoers to martial arts performers such as Robin Shou, whose portrayal of Liu Kang remains one of the franchise's defining performances. 8. Brotherhood of the Wolf (2001) A mysterious beast terrorizes the French countryside, leaving a trail of gruesome deaths in its wake. But this is no ordinary monster movie. Set in 18th-century France, Brotherhood of the Wolf follows naturalist Grégoire de Fronsac and his companion Mani, played by martial arts star Mark Dacascos, as they investigate a series of brutal attacks attributed to a legendary creature. Dacascos steals many of the film's action sequences with his fluid movements, powerful kicks, and dynamic fighting style. His performance adds an unexpected martial arts dimension to an atmospheric Gothic mystery. With its eerie forests, elaborate costumes, and terrifying creature at the center of the story, Brotherhood of the Wolf offers a unique combination of historical adventure, horror, and martial arts action. For longtime Black Belt readers, Dacascos is also a familiar name, having appeared alongside his father, Al Dacascos, on the magazine's May 1984 cover. 7. The Mummy: Tomb of the Dragon Emperor (2008) Jet Li has portrayed countless formidable fighters throughout his career, but in The Mummy: Tomb of the Dragon Emperor, he becomes something considerably more dangerous: an immortal emperor commanding an army of the undead. The third installment in The Mummy franchise follows adventurer Rick O'Connell and his family as they confront an ancient Chinese emperor who has been resurrected after centuries of imprisonment. Li portrays the Dragon Emperor, a ruthless ruler whose supernatural powers allow him to transform into monstrous creatures and unleash a terracotta army. Although the film emphasizes large-scale fantasy adventure over traditional martial arts combat, Li's presence gives its supernatural antagonist a commanding physical intensity. Between ancient curses, resurrected soldiers, and shape-shifting monsters, The Mummy: Tomb of the Dragon Emperor delivers plenty of Halloween-friendly spectacle. 6. The Crow (1994) Few films capture the dark atmosphere of Halloween quite like The Crow. Brandon Lee stars as Eric Draven, a musician who returns from the dead to avenge his murder and the death of his fiancée. Guided by a mysterious crow, Draven hunts down the criminals responsible, becoming an almost unstoppable supernatural vigilante. Lee's martial arts background brings a distinctive physicality to the character. Rather than relying exclusively on brute force, Draven moves with an eerie combination of agility, precision, and theatrical flair. The film's rain-soaked city streets, Gothic imagery, and haunting soundtrack create an atmosphere that feels tailor-made for Halloween. Tragically, The Crow also became Lee's final film following his death during production. His performance remains a powerful reminder of the talent and potential of the young martial artist, who appeared on the July 1993 cover of Black Belt Magazine. More than three decades later, The Crow remains one of the most memorable supernatural action films of its era. 5. Rigor Mortis (2013) Hong Kong cinema has a long tradition of combining martial arts with supernatural horror, but Rigor Mortis takes that formula in a considerably darker direction. Directed by Juno Mak, the film stars Chin Siu-ho as a struggling actor who moves into a deteriorating apartment building filled with ghosts, dark secrets, and terrifying supernatural forces. What begins as a bleak psychological drama gradually descends into a nightmare involving Taoist rituals, malevolent spirits, and the reanimated dead. Chin, who previously starred in the classic Mr. Vampire, brings an important connection to Hong Kong's supernatural martial arts tradition. Unlike the playful horror-comedies of the 1980s, however, Rigor Mortis emphasizes disturbing imagery and an oppressive atmosphere. For martial arts fans who prefer their Halloween movies genuinely frightening, this is one of the strongest selections on the list. 4. Blade II (2002) Wesley Snipes returned to the world of vampire hunting in Blade II, a sequel that raised the stakes with more elaborate martial arts action and considerably more horrifying monsters. Directed by Guillermo del Toro, the film follows Blade as he forms an uneasy alliance with a group of elite vampires to confront the Reapers, a terrifying new breed capable of preying on both humans and vampires. The sequel also features martial arts superstar Donnie Yen, who portrays the sword-wielding vampire Snowman and contributed to the film's action choreography. Snipes' striking techniques, swordsmanship, and athletic movement remain central to the action, while del Toro's grotesque creature designs give the sequel a stronger horror identity than its predecessor. With its combination of high-impact combat, nightmarish monsters, and relentless action, Blade II is an excellent choice for anyone who wants their Halloween entertainment with a heavy dose of martial arts. 3. Encounters of the Spooky Kind (1980) Before hopping vampires became a staple of Hong Kong cinema, Sammo Hung helped establish the formula with Encounters of the Spooky Kind. Hung stars as Bold Cheung, a courageous but unsuspecting man who becomes entangled in a supernatural conspiracy involving sorcery, ghosts, and reanimated corpses. What follows is an inventive combination of traditional Chinese folklore, elaborate fight choreography, and physical comedy. Hung's extraordinary athleticism allows him to turn even the most absurd supernatural encounters into impressive martial arts sequences. His ability to blend acrobatics, comedic timing, and combat helped distinguish the film from conventional horror productions. Encounters of the Spooky Kind would prove influential in the development of Hong Kong's supernatural kung fu comedies, helping pave the way for the vampire films that followed. For Halloween viewers interested in exploring the roots of martial arts horror, this is essential viewing. 2. Mr. Vampire (1985) Forget Dracula. In Hong Kong's supernatural cinema, some of the most memorable vampires don't fly or transform into bats. They hop. Mr. Vampire stars Lam Ching-ying as a Taoist priest tasked with controlling a dangerous reanimated corpse. Assisted by two bumbling apprentices, he must rely on traditional rituals, supernatural knowledge, and martial arts skills to prevent the creature from terrorizing the living. Produced by Sammo Hung and directed by Ricky Lau, the film became a defining entry in Hong Kong's jiangshi genre, introducing audiences to a uniquely Chinese interpretation of the undead. Lam's disciplined physical performance is particularly memorable. His character combines the authority of a martial arts master with the specialized knowledge of a supernatural investigator, creating a hero equally comfortable performing rituals and fighting monsters. The film's mixture of elaborate choreography, supernatural folklore, and slapstick comedy inspired numerous imitators and helped establish a lasting tradition of martial arts horror-comedies. For fans of classic kung fu cinema, Mr. Vampire is a Halloween favorite that deserves to be revisited. 1. Blade (1998) When it comes to combining martial arts and Halloween horror, few films have made a greater impact than Blade. Wesley Snipes stars as the titular vampire hunter, a half-human, half-vampire warrior dedicated to eliminating the bloodsucking creatures secretly operating within modern society. Armed with a sword, an arsenal of specialized weapons, and exceptional martial arts skills, Blade confronts an underground vampire empire led by the ambitious Deacon Frost. Snipes' extensive martial arts background helped define the character's fighting style. His precise strikes, explosive kicks, and confident swordsmanship transformed Blade into one of the most recognizable martial arts-inspired superheroes in cinema. The film's dark atmosphere, underground vampire clubs, and blood-soaked action sequences create a perfect blend of horror and martial arts spectacle. Released years before superhero movies became Hollywood's dominant genre, Blade also demonstrated the commercial potential of comic-book action films built around martial arts choreography. Nearly three decades later, Snipes' portrayal remains one of the most distinctive examples of a martial artist bringing a supernatural comic-book hero to life. For anyone looking to close out Halloween with a movie that delivers both fangs and fists, Blade is difficult to beat. Halloween Martial Arts Movies: The Final Round From Sho Kosugi battling a possessed ninja to Sammo Hung confronting the hopping undead, martial arts cinema has never been afraid to embrace the supernatural. These films demonstrate how martial arts can transform traditional horror stories into something entirely different. Instead of running from the monsters, their heroes often stand their ground, relying on technique, courage, and sometimes a well-placed flying kick to survive. Whether you prefer Gothic revenge stories, supernatural kung fu comedies, or vampire-slaying action, there's something on this list for every martial arts fan. Which martial arts horror movie is your favorite, and what would you add to the list?

Guillermo Gomez has devoted the past 26 years of his life to perfecting his aikido skills. Rising through the ranks was never his primary concern; mastering the intricacies of all the techniques he was taught in class was vastly more important. Consequently, the fourth-degree black belt that’s wrapped around his waist is the result of old-fashioned sweat equity, not a stint in a strip-mall McDojo that doles out belts on a bimonthly schedule. He earned his rank the hard way, under the tutelage of sixth-dan Nelson Requena of the Venezuela Aikikai in his hometown of Caracas, Venezuela. Gomez recently dropped by the Black Belt offices to demonstrate his craft for our cameras. We asked him to teach basic aikido defenses even nonpractitioners could use to fend off a choke, a punch, a knife thrust and a front kick. This article is the fruit of that labor. Choke Defense CHECKING THE CHOKE The opponent starts with the fingers of his right hand wrapped around the aikidoka’s neck (Photo 1). The man’s left fist is chambered for a head punch. From his ready stance, Gomez executes a right palm strike to the chin, stunning the assailant (Photo 2). He then positions his right hand over the back of the choking hand and his left hand on the elbow (Photo 3 and inset). “This technique works because I control the thumb,” Gomez says. “I use my right hand, along with the rotation of my body, to put pressure on his wrist until he releases the choke.” His grip on the knife edge of the choking hand augments the leverage he applies to the offending appendage. Using his left hand to bolster the torsion that stems from the wrist lock, Gomez rolls the man’s arm over and pushes down on the elbow (Photo 4). That creates a momentary standing armbar. Next, Gomez circles his left arm under the locked limb, securing it in the crook of his elbow (Photo 5). He uses his forearm to drag the elbow outward, bending the arm until it’s shaped like a “Z” (Photo 6). The aikidoka keeps the pressure on, courtesy of the wrist lock, while he uses his left hand to force the angled arm—and the man—to the ground (Photo 7). Once he’s down, Gomez moves his left hand to the man’s right elbow and guides the arm into a straightened orientation so he can apply pressure to the joint (Photo 8). The pain causes the opponent to hit the mat. Gomez immediately kneels, placing one knee on each side of the man’s shoulder (Photo 9). After using his forearms to trap the limb against his torso, he grabs the fingers of the opponent’s right hand and hyperextends them (Photo 10). Note how his left forearm, which he’s moved upward until it rests against the back of the man’s hand, serves as a fulcrum for the action. Essential principle: This technique relies on nikyo, the second immobilization technique of aikido, Gomez says. “It enables me to control the wrist, after which I bend the elbow and use my hips and the rotation of my body to put more pressure on it.” Punch Defense PACIFYING THE PUNCH The assailant uncorks a shot, and Gomez uses his left forearm to block the blow—specifically by making contact with the man’s forearm (Photos 1-2). The aikidoka moves off the centerline and executes a quick atemi (strike) to the face (Photo 3). Gomez seizes the wrist with both hands and pulls it to extend the arm (Photo 4). Before he maneuvers the limb into a position that will allow him to duck under it, he applies upward pressure on the back of the elbow with his shoulder/upper arm (Photo 5). Then he passes underneath and bends the arm, moving the palm toward the associated shoulder (Photo 6). Acute pressure on the wrist and shoulder causes the man to fall backward in an effort to alleviate the pain (Photo 7). When the opponent lands on his back, Gomez maintains his hold on the wrist, which keeps the limb bent (Photo 8). Using his right shin, he pushes the man’s body away, which angles the arm in such a way that the pain is amplified (inset). “To finish, I lift the wrist, which adds even more pressure to it and the arm,” Gomez says (Photo 9). Essential principle: This technique uses shiho nage, aikido’s “four-direction throw.” The opponent’s trapped hand is raised in a painful manner, thus allowing the martial artist to circle underneath before sending him to the mat. Knife Defense NEUTRALIZING THE KNIFE Holding the edged weapon in his right hand, the opponent begins to thrust it toward Gomez’s abdomen (Photo 1). The aikidoka scoots offline and to the outside, and as the assailant’s arm extends, Gomez grabs his forearm with his right hand (Photo 2). At the same time, he uses his left forearm to apply momentary pressure on the elbow area. Next, Gomez grabs the man’s wrist with his left hand, which enables him to reverse the motion and swing the straightened arm down and to the rear (Photo 3). Once the limb is sufficiently high, Gomez circles under it (Photos 4-5) and halts the travel of the weapon in an awkward position—the elbow is high, the wrist is angled in toward the opponent’s body and the wielder is on his toes in response to the pain being inflicted (Photo 6). All that facilitates the disarm (Photo 7 and inset). Opting for a nonlethal response, Gomez uses the spine of the blade to apply pressure on the side of the elbow, while his left hand maintains a lock on the right wrist (Photo 8). He takes the opponent down, at which point he has the option of using the knife offensively (Photo 9). Not wishing to spill his foe’s blood, Gomez effects a standing control that entails using his left knee and shin to hyperextend the trapped arm (Photo 10). Note how he leans forward to inflict the pain; he doesn’t try to do it by moving his foot. Essential principle: This technique utilizes sankyo, aikido’s third immobilization technique. It involves twisting the wrist while the forearm is held vertically. Kick Defense CONTROLLING THE KICK The opponent launches a midlevel front kick (Photos 1-2). Having detected it, Gomez darts to the outside and uses his right arm to check the leg (Photo 3). Note how he keeps his left arm near his face for protection in case he’s wrong about the nature of the attack (Photo 4). The aikidoka allows the man to step forward after the kick (Photo 5), then circles his right arm down and back until it’s in front of the opponent (Photo 6). Gomez swings his arm into the face of the opponent, allowing his elbow to bend as the impact happens (Photo 7). Meanwhile, Gomez places his right leg and hip behind the man so he can’t step backward to maintain his balance when the arm makes contact. That enhances the effect of the technique by augmenting the rotational force of the blow, thus causing him to fall flat on his back or even hit the ground headfirst instead of merely landing on his butt (Photo 8). “The same motion I use to protect myself from the kick is what takes him down,” Gomez says. “It is a hit, and a bad one.” Essential principle: In aikido, irimi nage means “entering throw.” The martial artist invades the opponent’s space before taking control of his body and slamming him to the mat. “This is the throw Steven Seagal used in his movies,” Gomez says. Words of Aikido Wisdom One of Guillermo Gomez’s favorite aikido quotes comes from—no surprise—Morihei Ueshiba, the art’s founder: “Iron is full of impurities that weaken it; through forging, it becomes steel and is transformed into a razor-sharp sword. Human beings develop in the same fashion.”

“If it disagrees with experiment, it is wrong. In that simple statement is the key to science. It doesn’t make any difference how beautiful your guess is, how smart you are, who made the guess or what his name is. If it disagrees with experiment, it’s wrong. That’s all there is to it.” —Richard Feynman, Nobel Prize-winning physicist That’s one heavy-duty, says-it-all quote from a brilliant man. Nothing I say will better it, but I’ll do my best to apply that bit of wisdom to the world of human beings who like to smack and squeeze each other into submission. Specifically, how can you think like Feynman when you’re drilling? In the past, when discussing martial arts training, I’ve used the analogy of a train, a locomotive that stays on track, chugging toward its destination. I likened anything that forces you to skip or that hamstrings your training to a derailment. That analogy still holds—the discipline portion of it, that is. STAYING WITH ANALOGIES, drilling entails boring into material until you punch through the other side, literally piercing the subject matter. Actual drilling, in the mechanical sense, is accomplished via a rotating bit that’s applied with pressure. Metaphorical drilling can feel like its real-world correlate: You apply pressure while running through the same physical tasks over and over. In this sense, drilling and training can be viewed as two words for the same concept. Combat drilling is often the rote repetition of skills, techniques and responses performed hundreds or thousands of times. Don’t get me wrong: There’s wisdom in this repetition: the wisdom of training, of discipline, of commitment, of staying on track. However, just as literal drilling—when a bit cuts into wood—can be called “boring,” combat drilling done wrong can be boring when its repetitiveness induces boredom. That presents a dilemma: You need lots of repetitions to seat skills, but passive or disinterested repetition may not be the best or the quickest way to progress. It’s because of this potentially mind-numbing aspect of drilling that you do yourself a service if you embrace the opening quote. EVERY INDIVIDUAL TECHNIQUE, every isolated tactic or strategy, is an experiment—not an experiment by analogy but an actual experiment. Will this particular combination function in this situation? Will this submission succeed against an opponent this size? Does this gun disarm actually work? All are experiments. By looking at each aspect of drilling and competition as an experiment—one that needs to be monitored at every step—you can reawaken your interest and re-engage your intellect. You’ll see that throwing 1,000 leg kicks on the banana bag is not a chore; it’s something you pay attention to because you must monitor every kick. Was your hip turned over on that one? What if you shifted your striking surface an inch up? Was your pivot heel too high? The same applies to grappling: Is your rear-naked choke tighter with your hand on the lowest portion of your biceps or up near your deltoid? IF YOU APPROACH EVERY training task and drill as an experiment to be monitored, a task to be calibrated, quantified and qualified, you move closer to full engagement with what you’re trying to master. You also gain experimental feedback regarding faulty hypotheses. You won’t force a drill when the work is futile. That isn’t to say you’ll shirk hard work and invent excuses to avoid certain “experiments”; rather, you’ll remain open to an honest assessment of the material you’re working on. That way, you can determine whether any difficulties encountered can be tweaked via the experimental method or are a waste of time. I HAVE AN EXPERIMENT FOR YOU: Before your next training session, read the opening quote again and strive to take that mindset to the gym so you can determine for yourself which is superior: drilling or experimenting.

Hollywood lost one of its most recognizable martial artists and stunt performers. Black Belt lost a Hall of Famer. And so many of us lost a dear friend. James Lew was the man you remembered: a martial arts master, stuntman, actor, and award-winning stunt coordinator, known by millions and loved by the friends and family who remained by his side until the very end. It didn't matter whether he was on screen for a minute or carrying a major role. James had a presence that stayed with you. The long hair. The intensity. The martial arts. The unmistakable look. And, behind the camera, an extraordinary understanding of how to turn martial arts into action that worked on film. For more than five decades, James helped define the intersection of martial arts and Hollywood. James Lew, Phillp Rhee and Simon Rhee truly the Best of the Best In 2024, Black Belt Magazine inducted James Lew into the Black Belt Hall of Fame alongside Simon Rhee and Jeff Imada in the Stuntman category—the first time the Hall of Fame specifically honored the extraordinary contribution of stunt performers in this way. The reception James received that evening said everything. His peers knew what he had accomplished. Martial artists knew what he represented. Fans knew the face they had watched for decades. But perhaps most importantly, James knew how much he was loved. For those fortunate enough to know him personally, his memory is a blessing. For those who knew him only through the screen, his career is an extraordinary journey through more than half a century of martial arts and Hollywood history. FROM MARTIAL ARTIST TO HOLLYWOOD Long before Hollywood knew his name, James was a martial artist. He began his journey studying kung fu under the renowned Douglas Wong in Southern California, becoming part of a remarkable generation of martial artists emerging in the region. Among those in that circle was Curtis Wong, who would go on to found Inside Kung-Fu magazine. Grandmaster Douglas Wong and the White Lotus Clan featuring a your James and Albert Leong James became a familiar—and formidable—presence on the Southern California tournament circuit during the 1970s, competing in both empty-hand forms and weapons and earning numerous championships. He had charisma even then. His image eventually became a staple of Inside Kung-Fu, appearing on its cover numerous times and helping make James one of the recognizable faces of the era. But another stage was waiting. Hollywood. James began performing on screen and in stunts during the 1970s, with credits reaching back to the era of the original Kung Fu television series starring David Carradine. Photo courtesy of James Lew archive Then came one of the films that would forever connect James to a generation of action-movie fans: Big Trouble in Little China. Photo courtesy of James Lew archive James worked as both a performer and martial arts talent on the production, and his distinctive appearance, movement and screen presence made him impossible to miss. Decades later, fans continued to recognize him from the film. That became a recurring them e throughout his career. James Lew was unforgettable. THE MAN BEHIND THE ACTION Throughout the 1980s and 1990s, James became a fixture of Hollywood action filmmaking. He appeared and worked alongside some of the biggest names of the era and contributed to productions associated with stars including Steven Seagal, Jackie Chan, Dolph Lundgren, Jean-Claude Van Damme and Jeff Speakman. His credits stretched across films and television including Showdown in Little Tokyo, The Perfect Weapon, Double Impact, Buffy the Vampire Slayer and The Crow television series, and the Best of the Best where he appeared with best friend of over 50 years Simon Rhee. The Korean Team from Best of the Best But James evolved far beyond being the martial artist the camera captured. He became one of the people Hollywood trusted behind the camera. Fight choreography. Stunt coordination. Second-unit action. Performance. James understood something very few people truly master: the difference between being able to fight and being able to make a fight tell a story on screen. Over the course of his career, James accumulated more than 140 film and television credits, touching multiple generations of action entertainment. And eventually, the television industry recognized what the martial arts and stunt communities had known for decades. James became a multiple-time Primetime Emmy Award nominee and winner for stunt coordination, with one of his proudest moments coming for his acclaimed work on Marvel's Luke Cage. After spending a lifetime helping other stars look extraordinary, James Lew finally stood on one of Hollywood's biggest stages and was recognized for being extraordinary himself. JAMES LEW LIVED TO THE FULLEST What makes James' final chapter particularly meaningful is that he never stopped being James. During the last months of his life, he continued attending the events and gatherings that meant so much to him, including celebrations surrounding Big Trouble in Little China, DragonFest and the Taurus World Stunt Awards. James Lew alongside a who’s who of martial arts legends: Tadashi Yamashita, Mike Stone, Simon Rhee, Phillip Rhee, Chong Lee, and George Chung. He wanted to be around the community. And the community wanted to be around him. Dragon Fest, Aug 2026 That was James. Approachable. Humble. Funny. Gracious. Delighted to see an old friend and equally happy to meet a fan who had watched one of his movies countless times. For all of his accomplishments, James never seemed to forget where he came from. At his core, he loved two worlds: Martial arts and the movies. And somehow, he was fortunate enough to spend his life bringing those two worlds together. NEVER ALONE. NEVER FORGOTTEN. In James' final days, something remarkable happened. Friends gathered at his bedside to say goodbye. Others reached out from around the world. Voices from throughout his life came through the phone to tell him what he had meant to them. Among them were martial arts figures James deeply admired, including Al Dacascos and Mike Stone, who called to tell their friend that they loved him. James was surrounded by the very community he had spent a lifetime helping build. There is something beautiful about that. A stunt performer spends his career making moments look dangerous while quietly protecting everyone around him. James spent decades falling, fighting, coordinating and creating unforgettable moments so audiences could believe in heroes. But in the end, the measure of James Lew's life isn't found in a stunt reel. It is found in the people who showed up. The friends who sat beside him. The people who called. The martial artists he inspired. The stunt performers whose path he helped pave. And the millions of movie and television viewers who may not always have known his name—but certainly remembered his face. James Lew was not alone. He will not be forgotten. In fact, perhaps the most fitting thing we can say about James is the simplest: He was unforgettable. In the words of his best friend James Lew was the most positive person I have ever known. When we were shooting "Best of the Best" in Korea in the winter, all of us were hesitating to get into the ice cold water but James said, Dammit, we are here to do a job, let's do it and do it well", and that fired us all up to do what we were there to do. When we were working with Madonna, he got spit on and instead of getting upset, he made a joke out of it and said, "oooh, how much do you think I can get for this on Ebay?". This is the kind of quality that made James who he was. The ultimate professional when working and always making light of challenging situations to get the job done. His work was his life - even towards the end, he was always ready to go to work. I remember visiting him in the hospital and he thought I was picking him up for a day of filming. He had an illustrious career as a martial artist, stunt professional, stunt coordinator but to me he was my lifelong buddy. Everyone loved him and his personality and positivity set him apart from everyone else. It has been my pleasure being your friend for over almost 50 years, and helping to care for you in the end. When we were shooting "Best of the Best" in Korea in the winter, all of us were hesitating to get into the ice cold water but James said, Dammit, we are here to do a job, let's do it and do it well", and that fired us all up to do what we were there to do. It's time for you to make God smile. Rest in peace, my friend. I'll see you again for dim sum and pie again soon.....SIMON RHEE From all of us at Black Belt Magazine, farewell to our Hall of Famer, our colleague and, most importantly, our friend. Rest in peace, James. Your life was a blessing to us all.

Every great martial arts community has its pioneers—individuals whose dedication, vision, and leadership forever change the landscape. In Australia, few names command as much respect as Hanshi Constantino "Tino" Ceberano, OAM. We celebrate not only a legendary martial artist, but also a man whose influence helped establish traditional karate throughout Australia. It's only fitting that Hanshi Ceberano graced the cover of Blitz Martial Arts Magazine, a publication that inspired generations of Australian martial artists and documented the country's rich martial arts history. Now 85 years young, Tino was born in 1941 on the Hawaiian island of Kauai to Filipino immigrant parents, Ceberano's martial arts journey began with boxing and judo before he discovered karate. What captivated him wasn't simply learning how to fight—it was karate's philosophy. "I was immediately attracted to karate's discipline, its intricate breathing methods, and the principles of mutual respect." Those principles would guide him for the next six decades. After earning his black belt in Gōju Kai Karate while serving in the United States Marine Corps, Ceberano's life changed forever when legendary Gōju Kai founder Gōgen Yamaguchi, known worldwide as "The Cat," personally asked him to relocate to Australia. In 1966, Hanshi Ceberano arrived in Melbourne with a mission: to establish Gōju Kai Karate across Australia. At the time, karate was still in its infancy in Australia. Through tireless teaching, demonstrations, and instructor development, Ceberano helped lay the foundation for what would become one of the country's most respected traditional karate communities. His dojo at Monash University became a hub for serious practitioners, and countless instructors trace their lineage back to his guidance. Yet Hanshi Ceberano never saw martial arts as simply learning punches and kicks. His philosophy centered on character, humility, and lifelong learning. Whether teaching beginners or senior black belts, his emphasis remained the same: technical excellence must always be matched by respect, integrity, and discipline. Following the passing of Gōgen Yamaguchi in 1989, Ceberano was entrusted by senior Gōju Kai officials to establish his own organization, the International Gōju Karatedo (IGK), allowing him to preserve the traditions of Okinawan Goju-ryu while continuing to evolve as an instructor and mentor. Over the decades, Hanshi Ceberano has achieved the rank of 9th Dan, served on the Australasian Sokeship Council, appeared in film, and, in 2019, was awarded the Medal of the Order of Australia (OAM) in recognition of his outstanding service to martial arts and the Australian community. For thousands of students, however, his greatest achievement isn't found in his titles or accolades. It's found in the lives he has influenced.

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

From the archives of Karate Illustrated, we remember Kaicho Takayuki Yamazaki — a martial arts pioneer whose influence reached far beyond the dojo. A 9th-degree black belt, internationally respected sensei and martial arts leader, Yamazaki was part of a generation that helped introduce and establish karate in America alongside legends such as Fumio Demura, Chuck Norris and Dan Ivan. His skills also made their way to Hollywood. Yamazaki famously helped prepare Arnold Schwarzenegger for Conan the Barbarian and worked with stars including Sean Connery, Dennis Quaid, Sting, Brigitte Nielsen and Rolf Möller, contributing his martial arts expertise to productions including Conan, Red Sonja, Highlander, Dune and Dragonheart. But his greatest legacy wasn't Hollywood. Kaicho Yamazaki lived and breathed karate. He was a teacher, leader, father and friend whose influence continues through the thousands of martial artists he touched around the world. One student perhaps described him best: “The most complete human being I’ve ever met.” Karate Illustrated — February 1971. More than 50 years later, we honor the masters who helped build martial arts history.

Black Belt's Perspective: Enter the Dragon is More Than a Movie What Enter the Dragon did was open the doors of the dojo to the entire world. Suddenly millions of people who had never attended a tournament, opened a martial arts magazine or stepped inside a school knew what a side kick looked like. They knew the sound of a kiai. They knew the words karate and kung fu. And they knew the name Bruce Lee. But Bruce wasn't the only legacy of Enter the Dragon. The movie introduced Jim Kelly to a worldwide audience. It gave Bolo Yeung an international showcase. It preserved Bob Wall and Pat Johnson during a remarkable era of American karate. It placed members of the Black Karate Federation before millions of moviegoers. It captured Angela Mao during the golden age of Hong Kong martial arts cinema. And hidden among its fighters were Sammo Hung and Jackie Chan — men who would help carry martial arts cinema into its next generation. That's why, 53 years after its release, Enter the Dragon isn't merely a classic martial arts movie. It is a martial arts family album. Some of the people in it became legends. Some became teachers. Some became champions. Some became filmmakers. Some are no longer with us, while others remain living links to an extraordinary moment in martial arts history. Freeze almost any fight scene and you may discover someone whose story extends far beyond the few seconds they spent on screen. The Fighters Who Changed Martial Arts Forever On August 19, 1973, American audiences met Bruce Lee in the film that would forever change the way the world viewed martial arts. Fifty-three years later, Enter the Dragon remains much more than a movie. It is a remarkable snapshot of martial arts history — filled with champions, pioneers and future superstars whose influence can still be felt today. When Enter the Dragon arrived in American theaters, there had never been anything quite like it. Produced as a collaboration between Warner Bros. and Bruce Lee's Concord Productions, directed by Robert Clouse and filmed largely in Hong Kong, the picture combined the scale and polish of a Hollywood action movie with something audiences rarely saw on the big screen: real martial artists performing real martial arts. Bruce Lee wasn't simply playing a fighter. He was one. And he wasn't alone. Look carefully through Enter the Dragon today and the movie becomes an extraordinary gathering of martial arts history. Alongside Hollywood veteran John Saxon were karate champion Jim Kelly, Hong Kong veterans Shih Kien, Angela Mao and Bolo Yeung, American karate pioneers Bob Wall, Pat Johnson, Steve Sanders, Donnie Williams and Darnell Garcia — and, almost hidden in the action, two young Hong Kong performers named Sammo Hung and Jackie Chan. TCM notes that many of the film's extras were actual martial artists and that Lee himself staged the martial arts sequences. Sammo Hung appears opposite Lee near the beginning of the film, while Jackie Chan appears as one of Han's men during the climactic fighting. It is difficult to imagine another martial arts movie containing so many people who would collectively influence the next half-century of the arts. For Black Belt, their stories are as fascinating as the movie itself. BRUCE LEE — THE MAN WHO OPENED THE DOOR Everything begins with Bruce Lee. By 1973, Lee was already a superstar in Asia through The Big Boss, Fist of Fury and The Way of the Dragon. But Enter the Dragon was different. This was the film designed to introduce Bruce Lee as the leading man of a major international Hollywood production. Tragically, Lee never witnessed the phenomenon that followed. He died on July 20, 1973, at only 32 years old. Enter the Dragon reached American audiences less than a month later. What audiences discovered was unlike the conventional screen fighter of the era. Lee was fast, explosive and physically spectacular, but there was also philosophy behind the violence. His movements communicated economy, timing, adaptability and intent. For millions of young viewers, Bruce Lee wasn't merely an action star. He became their first martial arts instructor. Dojo and kung fu school enrollments exploded. Martial arts entered mainstream popular culture. Hollywood's image of the Asian leading man changed. Generations of fighters, actors and stunt performers suddenly had a new reference point. Fifty-three years later, virtually every martial arts action star who followed operates in a world Bruce Lee helped create. JOHN SAXON — THE HOLLYWOOD BRIDGE John Saxon brought something essential to Enter the Dragon: Hollywood credibility. Playing Roper, Saxon wasn't merely an actor pretending to know how to fight. He had studied martial arts before making the film, and his physical ability allowed the filmmakers to present him convincingly alongside Lee and Kelly. Saxon represented the bridge between traditional Hollywood filmmaking and the emerging martial arts movie. His long career would continue across action, horror and television, including A Nightmare on Elm Street. But for martial artists, Roper remains one of his most memorable roles. Saxon died in 2020, but his presence in Enter the Dragon helped demonstrate that martial arts could exist comfortably inside a mainstream American action film. JIM KELLY — A NEW KIND OF HERO Then there was Jim Kelly. Tall, athletic, charismatic and unmistakably cool, Kelly's Williams became one of the most memorable characters in the film. Kelly was a legitimate karate practitioner and champion before becoming a movie star. Hollywood suddenly had something it had rarely seen before: a Black martial arts hero presented as confident, sophisticated and formidable. Enter the Dragon became Kelly's breakthrough and helped lead to starring vehicles including Black Belt Jones. Contemporary accounts of the production specifically identify Kelly as a karate champion recruited to strengthen the film's martial arts credentials. For many young Black martial artists, seeing Kelly standing beside Bruce Lee was enormously significant. Kelly died in 2013, but his image remains iconic — Afro, side kick and attitude included. SHIH KIEN — THE PERFECT MARTIAL ARTS VILLAIN Every great martial arts hero needs a worthy villain. Shih Kien provided one in Han. Already an experienced Hong Kong screen performer, Shih brought menace and authority to a character who could easily have become a caricature. His mechanical hand, underground army and hall of mirrors helped create some of the most recognizable imagery in martial arts cinema. But beneath the theatrical villainy was an experienced martial arts performer. Shih's background gave his movements an authenticity that helped make the final confrontation believable. He died in 2009 at age 96, leaving behind a career stretching far beyond Enter the Dragon. Yet around the world, Han remains his defining role. BOLO YEUNG — THE PHYSIQUE THAT BECAME A TRADEMARK Before Bloodsport, before Chong Li and before decades of appearances at martial arts conventions, there was Bolo. Credited at the time as Yang Sze, Bolo Yeung barely needed dialogue. His extraordinary physique told audiences everything they needed to know. As Han's imposing enforcer, Bolo became one of the film's most unforgettable physical presences. The role helped establish the screen persona Yeung would perfect over the following decades: the massively powerful martial arts antagonist capable of intimidating an opponent before throwing a punch. For a later generation, he would become equally identified with Jean-Claude Van Damme's Bloodsport. But Enter the Dragon introduced international audiences to the man who would become one of martial arts cinema's most recognizable villains. JACKIE CHAN — BLINK AND YOU MAY MISS A FUTURE SUPERSTAR One of the joys of revisiting Enter the Dragon is spotting Jackie Chan. He wasn't a star. He wasn't even a featured player. He was a young stunt performer appearing among Han's men during the massive underground battle. Bruce Lee dispatches him quickly. Nobody watching that scene in 1973 could reasonably have imagined that the young stuntman would eventually become one of the most internationally successful action stars in cinema history. Chan would ultimately develop a screen identity almost opposite Lee's: humor, vulnerability, spectacular stunt work and fights built around improvisation with the surrounding environment. Yet there he is in Enter the Dragon, one generation literally colliding with the next. SAMMO HUNG — THE MAN FIGHTING BRUCE AT THE BEGINNING Before audiences even reach Han's island, they see another future legend. The fighter facing Bruce Lee during the opening sequence is Sammo Hung. That scene many credit as the first glimpse of MMA, martial arts, boxing and grappling and Lee wins the match with a tap out not the stereotypical kick or punch. Hung would become one of the most important figures in Hong Kong action cinema — actor, director, producer, choreographer and action filmmaker. His career would help define the extraordinary Hong Kong action boom that followed Bruce Lee. That makes the opening sequence historically fascinating. It isn't simply Bruce Lee demonstrating his martial arts. It is Bruce Lee facing a young Sammo Hung — two enormously influential figures in Asian action cinema sharing the screen before the audience fully understood what either man's legacy would become. ANGELA MAO — THE WOMAN WARRIOR Angela Mao appears as Su Lin, Lee's sister, and although her screen time is limited, martial arts fans already knew — or would soon discover — that Mao was far more than a supporting actress. She became one of Hong Kong cinema's most important female martial arts stars. Her presence in Enter the Dragon also reminds modern audiences that women were part of the martial arts movie revolution from its earliest days. Long before today's generation of female action heroes, Angela Mao was demonstrating that women could carry martial arts pictures themselves. BOB WALL — FROM THE TOURNAMENT FLOOR TO BRUCE LEE'S ENEMY Bob Wall represented another important dimension of the film: the connection between Hollywood and America's rapidly growing karate tournament scene. Wall was a genuine karate champion and part of the Southern California martial arts community that included Chuck Norris and Pat Johnson. As O'Hara — the scar-faced fighter responsible for the death of Lee's sister — Wall participated in one of the movie's most brutal confrontations. Their battle felt different because both men understood fighting. Wall continued teaching, appearing in films and remaining a highly visible member of the martial arts community for decades. He died in 2022, but his association with Bruce Lee and Enter the Dragon remained an important part of his legacy. PAT JOHNSON — THE MAN WHO WOULD HELP DEFINE THE KARATE KID Martial artists should look closely at the early golf-course scene involving Roper. One of the thugs is Pat E. Johnson. Johnson was already part of the formidable Chuck Norris martial arts circle. But his influence on Hollywood martial arts would eventually extend far beyond his small appearance in Enter the Dragon. He became one of the industry's most respected martial arts choreographers and trainers and would become deeply associated with The Karate Kid, helping translate traditional karate into choreography that millions of moviegoers could understand. Johnson died in 2023, but his fingerprints remain on some of America's most enduring martial arts films. DARNELL GARCIA — A BLACK BELT MAGAZINE CHAMPION ON SCREEN Darnell Garcia's inclusion is especially meaningful from Black Belt's perspective. Garcia was a serious American karate competitor who trained in the Chuck Norris system and defeated Joe Lewis to win the Grand Championship at the 1972 International Karate Championships in Long Beach. Just months before Enter the Dragon reached theaters, Garcia appeared on the February 1973 cover of Black Belt. In the film he appears alongside Pat Johnson and Mike Bissell as one of the men confronting Roper on the golf course. For today's viewer it may look like a small role. Historically, it is something more. It was another example of Enter the Dragon drawing directly from the authentic American tournament karate community rather than simply casting actors and teaching them a few techniques. STEVE SANDERS — THE BLACK KARATE FEDERATION ON THE BIG SCREEN Another historically important appearance comes during Williams' introduction. Steve Sanders — later known as Steve Muhammad — was one of the pioneering figures behind the Black Karate Federation. In Enter the Dragon, Sanders appears as the BKF instructor training students as Jim Kelly's Williams prepares to leave for Hong Kong. Donnie Williams also appears as an assistant instructor. That brief scene carried enormous cultural significance. The BKF had been created during an era when Black competitors faced significant barriers within American tournament karate. Seeing Black martial artists training together in a major Hollywood production gave audiences around the world a glimpse of a genuine martial arts movement taking place in Los Angeles. Sanders became known for his speed, his teaching and his development of BKF Kenpo concepts. DONNIE WILLIAMS — ANOTHER PIECE OF AMERICAN KARATE HISTORY Donnie Williams' appearance is brief but historically significant. Williams was another pioneering member of the Black Karate Federation and appears during the BKF sequence as an assistant instructor. His connection to martial arts continued well beyond the film. He later won the overall title at the 1977 International Karate Championships in Long Beach and continued working in films and fight choreography. Again, Enter the Dragon wasn't merely borrowing the appearance of martial arts. It was putting actual members of America's karate community on the screen. MORE LEGENDS HIDING IN PLAIN SIGHT Even this list doesn't tell the entire story. Look deeper into the cast and stunt performers and you'll find Yuen Wah and Yuen Biao, two more names that would become deeply important to Hong Kong martial arts cinema. That's what makes Enter the Dragon extraordinary 53 years later. The film wasn't assembled around Hollywood actors who happened to learn some fighting for a movie. It brought together martial artists who happened to be making a movie. Bruce Lee. Jim Kelly. Bob Wall. Angela Mao. Bolo Yeung. Sammo Hung. Jackie Chan. Pat Johnson. Steve Sanders. Donnie Williams. Darnell Garcia. Different systems. Different countries. Different backgrounds. Different futures. But for a brief moment in 1973, they occupied the same piece of film. For Black Belt, perhaps that is the enduring importance of Enter the Dragon. The movie did not create martial arts. The arts had existed for centuries, and the American karate tournament scene was already thriving. Bruce Lee may have entered the dragon in 1973. But the remarkable collection of martial artists who entered with him helped change popular culture forever.

In the annals of cinematic history, few films have had as profound an impact on popular culture as Enter the Dragon. Released by Warner Brothers in 1973, this martial arts masterpiece not only revolutionized the action genre but also showcased the remarkable African American influence that played a pivotal role in its success. Led by iconic figures like Jim Kelly, Steve Muhammad, and Donnie Williams, members of the Black Karate Federation (BKF), the film resonated deeply within the African American community, encapsulating their struggles and aspirations during a transformative era. A Breakthrough for Representation: During the 1970s, Hollywood was still grappling with the representation of African Americans in mainstream cinema. Enter the Dragon, with its diverse cast and strong African American presence, broke the barriers that had long confined black actors to stereotypical roles. Jim Kelly, in his portrayal of the charismatic and skilled martial artist Williams, became a symbol of empowerment for black audiences, showcasing a positive and dynamic black character on the big screen. His memorable lines and electrifying fight scenes left an indelible mark on moviegoers, and Kelly's role served as a turning point for African American representation in cinema. Check out the Promo for UASE 11 (more details in links at the end of the article) The Black Karate Federation: Enter the Dragon not only elevated the visibility of African American actors but also highlighted the contributions of the Black Karate Federation. Comprised of talented martial artists such as Steve Muhammad and Donnie Williams, the BKF played a crucial role in shaping the film's action sequences and adding an authentic touch to the martial arts combat. Their expertise and dedication brought a level of realism to the fight scenes, further enhancing the film's impact and captivating audiences worldwide. Identification with Struggle: Beyond its cinematic achievements, Enter the Dragon resonated with the African American community on a deeper level. At a time when black Americans were fighting for equal rights and social justice, the film struck a chord by featuring a multicultural cast that stood together against a common enemy. Bruce Lee's character, Lee, represented an outsider fighting against a corrupt establishment, paralleling the experiences of African Americans striving for equality. The struggle against oppression and the quest for justice depicted in the film mirrored the challenges faced by the African American community, providing a source of inspiration and empowerment. Legacy and Impact: Enter the Dragon's cultural impact extended far beyond the silver screen. The film became a touchstone for African Americans, embodying the strength, resilience, and determination necessary to overcome adversity. It inspired countless individuals to pursue martial arts, fostering a sense of discipline and self-confidence within the community. Furthermore, the success of the film demonstrated the marketability of African American talent and contributed to the broader diversification of Hollywood's storytelling. Enter the Dragon remains a landmark film in the history of African American cinema, standing as a testament to the immense influence and contribution of the African American community. By showcasing talented actors like Jim Kelly and involving the Black Karate Federation, the film broke down barriers and ignited a sense of pride and empowerment among African Americans. Its themes of struggle and triumph resonated deeply within the community, offering hope and inspiration during a pivotal time in American history. Enter the Dragon continues to be celebrated as a testament to the transformative power of representation and the indomitable spirit of the African American experience. This article was provided by the team at Urban Action Showcase. Website: https://www.urbanactionshowcase.com/ Facebook: https://www.facebook.com/UrbanActionShowcase/ Facebook: https://www.facebook.com/UASInternationalActionFilmFestival Instagram: https://www.instagram.com/urbanactionshowcase/