Here's a short article on the long career of the shito-ryu karate and kobudo legend, plus details on how you can learn from the master. See lots of historical pix and a few of his old Black Belt covers!

Fumio Demura, ninth dan, is one of the most highly respected karateka in the world. Born in Yokohama, Japan, he began training during his grammar-school years, studying kendo as a means of building his strength and improving his health. When his teacher moved from the area, Demura transferred to another dojo that taught karate and kendo. He then studied aikido in high school and, later, judo. While at Nihon University in Tokyo, from which he received a Bachelor of Science degree in economics, Demura developed a special interest in kobudo, including the use of such weapons as the bo, nunchaku, kama, sai, eku bo and tonfa. He honed his technique under the tutelage of Okinawan karate master Kenshin Taira and weapons expert Ryusho Sakagami.

Ed Parker with Fumio Demura


Fumio Demura’s reputation as a martial arts champion was secured in 1961, when he won the All-Japan Karate Freestyle Tournament, and he was rated as one of Japan’s top eight competitors for the next three years. His many tournament wins include the East Japan Championship, the Shito-Ryu Annual Championship and the Kanto District Championship. Demura also received the All-Japan Karate Federation President’s Trophy for outstanding tournament play and was awarded certificates of recognition from Japanese Cabinet officials for his contributions to the art of karate. Fumio Demura’s Karate Weapons of Self-Defense: The Complete Edition, a best-seller at 765 pages! Order it here on Amazon. In 1965 Demura came to the United States at the invitation of martial arts pioneer Dan Ivan to teach shito-ryu (itosu-kai), one of the world’s four major systems of karate. Within a few years, Demura was educating and entertaining thousands of people at such diverse places as Disneyland, the Las Vegas Hilton and the Playboy Club. Demura has been a stuntman and an actor, with credits that include The Island of Dr. Moreau (1977), The Karate Kid (1984), Mortal Kombat (1995) and Ninja (2009). Fumio Demura was captain of the U.S. Japan Goodwill Championships of 1972 and a member of the Amateur Athletic Union national technical committee. He is on the board of directors of the International Martial Arts Federation; chairman and president of the Japan Karate Federation of America; president of the JKF International; and chief instructor and president of Shito-Ryu Karate-Do Genbu-Kai in Santa Ana, California. The editors of Black Belt spotted the rising star early on, which explains why Demura scored his first magazine cover in December 1967 (right). The black-and-white photo showed him posing with the sai. The cover story spanned 13 pages. He was on the cover again for the March 1969 issue (below left). The story focused on the nunchaku — as did the article that accompanied his third cover in February 1972 (below right). Three more cover appearances followed. Two of them highlighted another popular kobudo weapon: the tonfa. Throughout the ’70s, Fumio Demura developed a reputation as an extraordinary teacher of karate and kobudo. Black Belt twice honored him: In 1969 he was named Karate Instructor of the Year, and in 1975 he was Martial Artist of the Year. In the 1970s and ’80s, Demura wrote a series of kobudo books that were published by Ohara Publications, Black Belt’s sister company. In the late 1980s and early '90s, he committed his insights to video in a set of VHS tapes produced by Black Belt’s Dan Ivan. Later, those video masters were digitized and distributed in DVD format. Now that most martial artists have moved beyond the limitations of physical media, Black Belt is releasing them as part of Fumio Demura Karate Weapons: Complete Video Course. A full-motion companion to his most recent book (shown at the top of the page), the course streams those classic Demura kobudo videos — which feature the nunchaku, bo, kama, sai, tonfa and eku bo — to your smartphone, tablet or computer. It also teaches 14 traditional kata designed to polish your skills with those classical weapons. Bonus! Fumio Demura Karate Weapons: Complete Video Course includes an interview with the master recorded in October 2016 at the Black Belt studio. Among the topics he discusses are how karate has changed over the years, what continues to attract modern martial artists to traditional weapons and how you can improve your skills. Fumio Demura: Select Career Highlights From the Pages of Black Belt Magazine January 1967 issue: Bruce Lee plays Kato in The Green Hornet. Joe Lewis is the No. 1 karate fighter in the nation. Fumio Demura introduces America to shito-ryu karate. October 1967 issue: Bruce Lee, Chuck Norris and Fumio Demura demonstrate at Tak Kubota’s 3rd Annual Invitational Karate Tournament in Hollywood. December 1967 issue: Fumio Demura gets his first Black Belt cover. He's shown with a pair of sai. September 1968 issue: “The power of the fist does not come from the fist,” Fumio Demura says. “It comes from the wrist. I work with the makiwara no more than 30 times a day to strengthen the wrist, but there is still no better way to strengthen the wrist so that the wrist will not give, except through the use of the sai, the short sword and, for those who do not have a sai, push-ups on the fingers. When the fist is strong, it is because the wrist is strong and won’t give in an attack.” March 1969 issue: Fumio Demura appears on the cover again to teach the nunchaku, an Okinawan weapon that’s mesmerized America. January 1970 issue: The Black Belt Hall of Fame inductees for 1969 include Fumio Demura, Wally Jay and Thomas LaPuppet. February 1972 issue: Once again, the front cover features Fumio Demura wielding the nunchaku. October 1975 issue: Fumio Demura, Chuck Norris, Willie Cahill, Joe Lewis and Tommy Martin enter the Black Belt Hall of Fame. August 1978 issue: Fumio Demura appears on his fourth cover, this time with the tonfa. October 1980 issue: Fumio Demura gets his fifth Black Belt cover — without a kobudo weapon, for once. February 1982 issue: With tonfa in hand, Fumio Demura returns to the cover for the sixth time. July 1990 issue: Celebrating his 25th year in the United States, Fumio Demura has a celebratory meal with Chuck Norris and Karate Kid star Pat Morita. April 2000 issue: Fumio Demura is asked about the new trend of wearing shoes in the dojo. “I would never wear shoes,” he says. “Nobody I fight wears shoes. That is the way we grew up. I have been practicing for over 50 years, and it is difficult for me to get used to wearing [sparring] gloves; the shoe issue is no different.” May 2001 issue: It’s revealed that Chuck Norris modified the tang soo do he learned in South Korea to include hand techniques he was taught by Tak Kubota and Fumio Demura. June 2006 issue: Joe Lewis is asked which martial artists give the best seminars. His reply: Jeff Smith, Bill Wallace, Renzo Gracie and Fumio Demura. July 2010 issue: Chuck Norris originally suggested Fumio Demura for the role of Mr. Miyagi in The Karate Kid, but Demura declined. FOR MORE INFORMATION Order Fumio Demura’s Karate Weapons of Self-Defense: The Complete Edition from Amazon here. Sign up for Fumio Demura Karate Weapons: Complete Video Course here.
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Do you want to maximize your self defense skills? Learn the game of combat chess and most importantly the queen of all moves.

Allow me to intercept those who would object to the title of this article. I'm not claiming that there's a secret move, shortcut or hack that will give you the edge in any fight. Even if there was an ultimate weapon or strategy, you likely would avoid it because you
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Looking to buy some weights to gain some strength?

Looking at Dumbbell, Kettlebells or Weighted bar? How about an all in one that won't just save you some good amount of money but also space? Look no further, we bring you the GRIPBELL!

Let's face it, when we do want to work on some strength building, we don't want to go around shopping for 20 different weight equipment things. That would just not want us to even do any sort of strength training. But what if we only needed a few, a few that can do the things we want without having 20 things lay around? That's where the GRIPBELL comes in. Let me clarify with you first, these are not some heavy duty, muscle exploding weights, they are for building the level of strength we as martial artists want without going crazy and insane in bulk sizing!

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Many different types of "blocks" are taught in most martial arts school. We are taught high blocks, low blocks, middle blocks, knife hand blocks, etc. Some schools will also teach how to use the legs to block an attack, as well.

The purpose of this writing is to possibly open some minds to the possibilities of going outside the box and considering alternatives to the basics.

Blocking is taught as a way of protecting oneself from harm. Truly, we don't "block" anything, as a non-martial artist would think of it. What we call "blocking" is more of a redirection of an opponent's attack, or even a counterstrike against the opponent's attacking limb.

To block something would mean to put something, like your arm, leg or other body part directly in front of the attack. That would certainly hurt and possibly cause some damage. The goal should be to move the attack out of the way in order to prevent injury and provide a way to fight back. For example, many schools teach blocks as a limb moving toward the strike such as a circular high block.

The movement required for a block might have other uses, if you keep an open mind. The blocking techniques can also be used as attack techniques. For example, your "low block" may be used as a striking technique against the outer thigh of the attacker. Your high block might be used as a strike to the jaw. The set up for a block can be used as a deflection, as well as the actual block.

Doing a block or a series of blocks will most likely not end an attack. A block needs to be followed by a counterattack. While the block is usually taught as a separate technique in order to learn it correctly, it should also be used in combination with a counter.

The more you know, the more you realize how much you don't know. Intensive books can and have be written about basic techniques. With this writing, I am hoping to create interest in exploring the additional possibilities for what we have been taught and what we teach others.

About Grand Master Stevens

GM Stevens has been training in taekwondo for 47 years under the tutelage of the late legendary Grand Master Richard Chun. He holds an 8th degree black belt and is certified in the USA and in Korea. Grand Master Stevens is a member of the Board of Directors of the prestigious Richard Chun TaeKwonDo World Headquarters organization. He has been very active in his community and has been a volunteer with the Glen Rock Volunteer Ambulance Corps for over 11 years. He is a certified member of C.E.R.T. (Community Emergency Response Team).

Gary Stevens Taekwondo is located at 175 Rock Road in Glen Rock, New Jersey.

For more information: call (201) 670-7263, email: StevensTKD@aol.com or go to www.StevensTaeKwonDo.com

Having partners at or above your skill level is important for improving in your martial arts training. At some point, however, you will probably find yourself with a shortage of skilled partners, especially if you are an instructor.

This can happen for any number of reasons: students can move away, change their work schedules, start a family, etc., and just like that, you find that you're the highest-ranked student, or sole instructor, in your gym or dojo. This doesn't have to be a bad thing. In fact, if you take advantage of it, even working exclusively with lower-ranking classmates or students can improve your skills.

I used to host a twice-a-week training session at my dojo where I invited mostly black belts from other schools (as well as a few of my advanced students) to come and run drills. It was a blast. These were tough two- to three-hour sessions where I got to work with fighters of all different sizes, speeds, and technique preferences. My sparring improved dramatically over the next few months, and I don't think I've ever been in better shape. But unfortunately, it doesn't always work out that way. And as the old saying goes, "You gotta work with what ya got." So, make it hard on yourself.

I like to set handicaps when fighting my students. Specifically, I focus on forcing myself to work on improving my weak areas. Is you right leg weaker than the left? Then only kick with the right leg when sparring your students. Not much of an inside fighter? Don't kick at all. Training with partners of lesser skill not only helps you improve your weak points but gives them an opportunity to improve as well by working on strategy. It's also great for building their confidence. It can also be a low-cost opportunity to test new techniques and combinations, which benefits you as well.

In grappling, just like sparring, there is little benefit to wrapping lower ranking classmates into pretzels over and over, for them or you. Instead, let your partner put you in a bad situation. Let them get the mount; help them sink in that choke or armbar. If you start standing, such as in judo, allow your partner to get the superior grip before attempting a throw. This way you will get comfortable working out of a weaker position and your less-experienced partner can perfect their technique (and get experience using multiple techniques, if you get out of their first one).

You might think that giving advantages like these to students who may be far beneath your skill level is much of a challenge. Trust me, you'll reconsider that sentiment when you wind up sparring a 6'5" novice with zero control over his strength after deciding to only use your weak leg, or have a 250-pound green belt lying across your diaphragm trying to get an armlock after you let them get the pin. Remember, this is exactly what you signed up for: a challenge.

If you find yourself at the top of the heap without partners who are sufficiently challenging, there is no need to despair. Use it as a low-stress opportunity to improve your weaknesses and develop avenues to help your less experienced classmates and students to grow. You may even be surprised. One day they might present more of a challenge than you ever imagined!
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