Fighting Spirit

Judo, Tai-Chi, Aikido and Other Effective Stopping Techniques. Weapons Training. Use of Fire Arms, Archery, Swords, Fencing and Other Weapons. Submissive Attacker Techniques.
Meditation and Stretching. Using Physics, Techniques., Philosophy, Strategy, Endurance
and Ideas From The Masters.

Jigoro Kano (1860--1938) Founder of Judo. He was a perfectionist, a disciplinarian and a traditionalist. But, at the same time, an innovator, an internationalist and a man of great generosity. More important, he was a famous educator and the father of modern sports in Japan.
Today, more than six million persons practice Judo in over 30 countries around the world.

Miyamoto Musashi - Born in 1584. Japans most renowned warriors, by the age of 30 fought over 60 contests by killing all of his opponents.

Teaching of
Go Rin No Sho. Book of five rings. The way of the sword. How to attack in many Situations. Influenced by Zen, Shinto and Confucianism

Morihei Ueshiba
- (1883-1969) He was history's greatest martial artist. Even as an old man of eighty, he could disarm any foe, down any number of attackers, and pin an opponent with a single finger. Although invincible as a warrior, he was above all a man of peace who detested fighting, war, and any kind of violence. His way was Aikido, which can be translated as "The Art of Peace." Morihei Ueshiba is referred to by the practitioners of Aikido as O Sensei, "The Great Teacher". The Art of Peace is an ideal, but it developed in real life on many fronts. Morihei in his youth served as an infantryman in the Russo-Japanese War, later battled pirates and bandits during an adventure in Mongolia, and then, after mastering a number of martial arts, served as an instructor at japan's elite military academies. Throughout his life, however, Morihei was sorely troubled by the contention and strife that plagued his world: his father's battles with corrupt politicians and their hired goons, the devastation of war, and the brutality of his country's military leaders.

Sun Lu-tang (1860-1933) wrote in his book "ying-yi Chuan Theory" that "Tai-chi, Eight-sections, and both schools of Kung-fu by external training or internal training have the common origin." He was a grand-master of "Ying-Yi Chuan" and "Eight-Sections Palms" and "Wu Style Tai-chi Chuan" and created the "Sun Style Tai-chi Chuan."

Black Science The fighting skills of the shadow warrior.

Kyusho Jutsu is the art of attacking the body’s vital points. Properly applied, even light blows can produce extreme pain and seemingly effortless knockouts. how to use this devastating fighting art against the most common street attacks and come out the winner every time.

Bruce Lee - Lee created his own style of fighting called, Jeet Kune Do, which he borrowed from the disciplines of boxing and fencing. "The less effort, the faster and more powerful you will be." "True refinement seeks simplicity," he said, encouraging his students to experiment and stay true to their own spirit. His legacy continues.

Zen Quotes & Ideas

Meditation Techniques.

Martial Art Maneuvers


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Jigoro Kano

Fukuda stressed technique over formal exercises, or kata. His method was to give an explanation of the exercises, but to concentrate on free-style fighting in practice sessions. Jigoro Kano's emphasis on "randori" in Judo undoubtedly found its beginnings here under Fukuda's influence. The Kodokan's procedure of teaching beginners the basis of Judo, then having them engage in randori and only after they had attained a certain level of proficiency, teaching them the formal kata, came from Fukuda and a later sensei named Iikubo. At 19, Jigoro instructed 20 or 30 students, starting with kata and then moving on to free fighting. By the time he was 21 years old in 1881, Kano had become a master in Tenjin-shinyo-ryu jujitsu.


Ju no Kata
Forms of Gentleness

Ju no Kata teaches the theory of the skillful application of flexibility in order to defeat strength and it was developed to study how to lift up a body and understand the ways of different fighting methods. Ju no Kata was developed at the Kodokan around 1887.


  1. Tsuki-Dashi (Hand Thrusting)
  2. Kata-Oshi (Shoulder Push)
  3. Ryote-Dori (Seizure of Both Hands)
  4. Kata-Mawashi (Shoulder Turn)
  5. Ago-Oshi (Jaw Thrusting)


  1. Kiri-Oroshi (Head Cut with hand Sword)
  2. Ryokata-Oshi (Pressing Down on Both Shoulders)
  3. Naname-Uchi (Nasion Strike)
  4. Katate-Dori (Single Hand Seizure from the Side)
  5. Katate-Age (Single Hand Raising)


  1. Obi-Tori (Belt Seizure)
  2. Mune-Oshi (Chest Push)
  3. Tsuki-Age (Uppercut)
  4. Uchi-Oroshi (Direct Head Strike)
  5. Ryogan-Tsuki (Both Eyes Poke)
ONE STRONG MAN - You can just see it...
Go no Kata - Forms of Hardness/Strength
Go no Kata is one of the oldest Kodokan kata and "represents an important historical link between the classical practices of jujutsu and the all-round educational emphasis of Jigoro Kano's Kodokan Judo." This article describes a demonstration of the Go no Kata in 1998 at the Kodokan, the first time it had been performed at the Kodokan in 50 years. Seven techniques are included in the kata, three of which are repeated with different entering (irimi) patterns. The techniques are all executed from jigotai (defensive posture) without gripping the clothing. According to Kodokan Professor Toshiro Daigo, the Yuko no Katsudo6 published by the Kodokan in November 1921, and Antony Cundy's article, the techniques performed in the Go no Kata are:
1. Seioinage 2. Ushirogoshi 3. Sukuinage 4. Hidari Seionage 5. Ukigoshi 6. Hadakajime koshikudaki 7. Tobigoshi ukigoshi 8. Osoto otoshi 9. Ushirogoshi 10. Kataguruma

stick in the road

1st degree stripe

Gonosen no Kata - Forms of Counters
Go no sen is a strategy, one of the three basic strategies, which can be loosely translated as ‘counter technique’. Kano recognized three levels of combative initiative (sen): 1) go no sen, the ‘late’ form of attack initiative, usually characterized as a defensive move or counteraction; 2) sen, the attack initiative that is also defensive but launched simultaneously with the aggressor's attack; 3) sen-sen no sen, a supraliminal attack initiative, also defensive but appearing to be offensive, through which the aggressor's attack is anticipated and "beaten to the punch" by an appropriate action. This kata was created by Kyuzo Mifune, tenth dan. It is also known as Nage Ura no Kata and is not a recognized Kodokan kata.


  • O-soto-gari -- O-soto-gari
  • Hiza-guruma -- Hiza-guruma
  • O-uchi-gari -- De-ashi-barai/Okuri-ashi-barai
  • De-ashi-barai -- De-ashi-barai
  • Ko-soto-gake -- Tai-otoshi
  • Ko-uchi-gari -- Sasae-tsuri-komi-ashi


  • Kubi-nage -- Ushiro-goshi
  • Koshi-guruma -- Uki-goshi
  • Hane-goshi -- Sasae-tsuri-komi-ashi
  • Harai-goshi -- Utsuri-goshi
  • Uchi-mata -- Te-guruma


  • Kata-seoi -- Sumi-gaeshi


Jigoro Kano

Jigoro Kano (1860--1938)

Founder of Judo




Official International Judo Federation Techniques
99 techniques

Nage-Waza (66)

Te-Waza (16) Ashi-Waza (21)
ippon-seoi-nage ashi-guruma
kata-guruma de-ashi-harai (or barai)
kibisu-gaeshi hane-goshi-gaeshi
ko-uchi-gaeshi harai-goshi-gaeshi
kuchiki-taoshi harai-tsurikomi-ashi
moro-te-gari hiza-guruma
obi-otoshi ko-soto-gake
obi-tori-gaeshi ko-soto-gari
seoi-nage ko-uchi-gari
seoi-otoshi o-guruma
sukui-nage okuri-ashi-harai (or barai)
sumi-otoshi o-soto-gari
tai-otoshi o-soto-gaeshi
uchi-mata-sukashi o-soto-guruma
uki-otoshi o-soto-otoshi
yama-arashi o-uchi-gaeshi
Koshi-Waza (10) o-uchi-gari
hane-goshi sasae-tsurikomi-ashi
harai-goshi tsubame-gaeshi
koshi-guruma uchi-mata
o-goshi uchi-mata-gaeshi
sode-tsurikomi-goshi Yoko-Sutemi-Waza (14)
tsuri-goshi yoko-wakare
tsurikomi-goshi yoko-otoshi
uki-goshi yoko-guruma
ushiro-goshi yoko-gake
utsuri-goshi uki-waza
Ma-Sutemi-Waza (5) ko-uchi-makikomi
hiki-komi-gaeshi daki-wakare
sumi-gaeshi hane-makikomi
tawara-gaeshi harai-makikomi
tomoe-nage o-soto-makikomi
ura-nage soto-makikomi


Katame-Waza (29) and Kinshi Waza (4)


Osae-Komi-Waza (9) Shime-Waza (11)
kami-shiho-gatame gyaku-juji-jime
kata-gatame hadaka-jime
kesa-gatame kata-ha-jime
kuzure-kami-shiho-gatame kata-juji-jime
kuzure-kesa-gatame kata-te-jime
tate-shiho-gatame nami-juji-jime
uki-gatame okuri-eri-jime
ushiro-kesa-gatame ryo-te-jime
yoko-shiho-gatame sankaku-jime
Kansetsu-Waza (9) sode-guruma-jime
ude-hishigi-ashi-gatame tsukkomi-jime
ude-hishigi-hara-gatame Kinshi-Waza (4)
ude-hishigi-hiza-gatame ashi-garami
ude-hishigi-juji-gatame do-jime
ude-hishigi-te-gatame kani-basami
ude-hishigi-waki-gatame kawazu-gake
Front Roll

Back falling

Side View

Side Falling
The Study of Falling

It is so important to success in Judo that we practice ukemi not just when we are beginning to learn Judo, but as a part of almost every practice session. Jigoro Kano, the founder of Judo, explains the importance of ukemi this way: As I have often said if one hates to be thrown, one cannot expect to become a master of the art. By taking throws time after time, one must learn how to take falls and overcome the fear of being thrown. Then one will become unafraid of being attacked and be able to take the initiative in attack. Only by following this manner of training can one learn true Judo technique. It is not possible to excel in throwing, or to defend against an attack successfully, without a thorough understanding of falling. It is also not possible to be successful in matwork without learning to control the transition from standing to the mat, the very definition of falling. The traditional order of training is to move from the simple to the more difficult. Each person will progress at their own speed but the basic steps are as follows: At first practice falling from a low position, and gradually move higher. Learn one direction and style of falling, then learn to fall in other directions. First fall in place, then add movement. In the beginning move slowly and carefully, then increase speed. First fall by yourself, then have a partner throw you. When someone is throwing you, repeat the learning steps 1 through 4 (i.e. start with a low throw, one direction, no movement, and slow speed). This step-by-step, approach to safe falling sets the stage for developing confidence, coordination, and control. Learning to fall properly and safely can be a big step towards facing some of the other more difficult lessons that come with intense Judo training. In addition, this method of learning will immediately transfer well to the study of your first throws. For example, first learn easy throws, in one direction, without movement, slowly with a cooperating partner. As you master each element then add other directions, movement, resistance, etc. Knowing the importance of ukemi, strive to improve your skills. Challenge yourself by practicing different ways to fall, keeping safety uppermost in mind. Constantly work on developing a fearless attitude that will eventually allow you to relax and fully enjoy the complete Judo experience.

Big Hip Throw
a hip technique. As your opponent steps toward you with his right foot, you step in and pivot, lowering your hips to bring them in just under your opponent's hips. You pull his upper body toward you with your right hand while your left arm circles his body until your hand comes to rest at the small of his back As you continue your pivot, spring upwards with your hips, lifting your opponent and pulling him down and across your back with your right arm. Complete the throw by rolling your opponent off your right side and to the mat. You step in closer on this one than with Uki Goshi. You need to be in tighter for the lifting action of your hip to pick them up. If you are too far out, the springing action from your hips will tend more to rock them back than lift them up. Rocking them back is exactly what you don't want to have happen when you are trying to do this throw.

Major Inner Reaping
lines of your shoulders form a "T". Keep your foot low to the mat while sweeping. Move your foot in a circular motion so that you catch your knee behind your opponent's knee. As your foot sweeps, push forward and up with your hand against your opponent's jawline. An alternative is to reach down with the hand on the sweeping side and grab the opponent's trousers and lift to augment the sweeping action. In this case, push with your shoulder and upper body.

Knee Wheel
This action is a block to stop Uke from stepping forward to maintain balance then wheels Uke round and over blocking foot.

Upper Palm Heal Strike

The technique shown below is illustrated in my book Modern Self Defense for the 21st Shutei Tsuki is effective when your opponent is in front of you or when you wish to move your opponent back (increasing the distance between you and Uke). The following key points should be remembered: Speed is more desirable than power. All the power in the world wont help your strike is too slow Never over-extend the strike. Extending the strike too far with make you off balance and make you vulnerable to counter strikes, sweeps and throws. Always exhale when striking. This increases power to the technique. Practice striking techniques in front of a mirror. This way you can see what you are doing. I carry this over into my dojo and when working with students, I will perform the mirror image of what I am teaching. For added balance, keep your hand against a wall for added support. Right hand in the chamber, left palm straight out, fingers straight up and together, centered on the body, nose height. Extend the right hand forward fingers upward, stopping when the arm is almost fully extended, centered on the body, nose height. Simultaneously, retract the left arm into the chamber, rotating hand so that the palm is upward. A strong stance provides a solid foundation for the technique. In addition, the right hand retracts into the chamber to avoid becoming a handle that can be grabbed and in the case of another Uke behind Tori, as a strike. To properly strike an opponent, you must drive through the target. If you want to strike your opponents nose, you must aim for the back of the head. This way, when you make contact, you will drive your strike through the target.

Writings of Musashi
Go Rin No Sho
Book of five rings.










Miyamoto Musashi

One of the greatest swordsmen in Japanese history, Shinmen Musashi No Kami Fujiwara No Genshin, was born in the village of Miyamoto in 1584. A descendant of the Fujiwara clan who were pre-eminent in the Heian period, Musashi had a complex relationship with his emotionally, and literally, distant father, before being orphaned at the age of seven and left in the care of his uncle, a priest. His father, Munisai Hirato, had been a warrior, and Musashi inherited an aggressive temperament, and studied kenjutsu from an early age.

When he was 13, Musashi participated in his first single combat, challenging the swordsman Arima Kigei, who had invited challenges as a means of proving the superiority of his school, Shinto-Ryu. Although Musashi was very young, Kigei accepted his challenge. Musashi defeated the samurai, striking him repeatedly with a stick, so violently that he died. As well as his skill, this duel displayed the savagery which marked Musashi as a young man.

In his early life, Musashi learned to wield a katana in one hand, instead of the usual two-handed grip, and began the development of a style of fighting using two swords. However, he did not utilise either technique in his formal duelling for many years. At 16, deciding that his true desire was to seek enlightenment in the way of the sword, Musashi left his home to begin his Musha-Shugyo. Usually translated 'warrior pilgrimage', the Musha-Shugyo was a samurai tradition, in which a warrior would become ronin and travel the land, fighting in duels to establish and perfect his own skill, and to promote the strength and value of his school.

The Musha-Shugyo was a period of total commitment for Musashi. He denied himself luxuries, never cut his hair, never married and never even bathed. It was said by some that his refusal to shave his head was due to eczema scars caused by congenital syphilis, while his total rejection of personal hygiene is seen either as a deliberate attempt to confuse opponents, or as a result of his refusal to undress and lay down his swords, as he would have to do in order to wash. Whatever his reasons, Miyamoto Musashi became the archetypal unkempt, invincible ronin, as he passed through duels and wars undefeated.

Early in his pilgrimage, Musashi fought in the battle at Sekigahara, where Tokugawa Ieyasu defeated the followers of his rival, Hideyori. Despite joining the army of Hideyori, Musashi survived both the bloody, three-day battle, and the brutal hunting and slaughtering of the losing army which followed it. Aside from this, he remained largely untested until his arrival in Kyoto at the age of 21, and his clash with the Yoshioka family. The Yoshiokas had been the fencing masters of the Ashikaga house for generations, and even after the demise of the Ashikaga Shogunate they remained prominent in the affairs of Kyoto. They could therefore have ignored this itinerant, unknown country swordsman without loss of face, but they did not. Years before, Musashi's father had fought duels with three members of the Yoshioka family, defeating two of them, and the family might have been looking for revenge against the son of Munisai.

Whatever the reasoning, Musashi first fought Yoshioka Seijiro, head of the family, almost as soon as he arrived in Kyoto. Although at the end of a journey, and armed only with a bokken (a heavy wooden practice sword), Musashi defeated Seihiro, leaving him gravely wounded. Once recovered, Seijiro hung up his swords and cut off his samurai topknot in shame. Seeking to avenge his family's shame, Seijiro's brother, Denshichiro, challenged Musashi. Already showing a flair for strategy, Musashi deliberately goaded his opponent by turning up late, and the enraged and distracted Denshichiro was killed in the duel. Finally, a challenge was issued from Seijiro's pre-teen son, Hanshichiro. An ambush was planned for Musashi, with several dozen warriors arriving to lay in wait for him. However, on this occasion Musashi had arrived early and hidden himself. Attacking from concealment, he killed Hanshichiro, fought his way free of the mob and left Kyoto.

After this dramatic and brutal beginning, Musashi's Musha-Shugyo made him a legend in his own lifetime. He defeated swordsman after swordsman, and many warriors armed with other weapons. He defeated a spearman of the renowned Hozoin temple, and studied with the monks there for a time around 1605. At about the same time, he fought and killed Shishido Baikin, a noted master of the kusari-gama (a sickle and chain weapon), by distracting him with a thrown dagger. As shown by this incident, Musashi was a shrewd and ruthless combatant, and had little attachment to the idea of a fair fight, but this is not to say that he could not win a straight match. He often fought swordsmen armed only with a bokken, and defeated the master swordsman Muso Gonosuke with a slender wooden wand intended for use as a bow shaft. After this match, Gonosuke is said to have been inspired to create the art of jo-jutsu.

In 1612, Musashi defeated the noted master swordsman Sasaki Kojiro in one of his most famous duels. It is said that he once again arrived late, and that he fought armed with a bokken he had carved from an oar on his way to the duel, while Kojiro used a real sword. He mocked Kojiro when the older man threw away his scabbard, remarking that he would not need it again. According to accounts of the fight, the two men struck hard at each other's heads, and while Kojiro's blade cut through Musashi's headband, Musashi struck faster, and the impromptu bokken split Kojiro's skull before he could complete his blow. After this duel, Musashi rarely fought anyone using a real sword. One account has him defeating a swordsman simply by guarding himself with a tessen (an iron defensive fan) until his opponent became tired and submitted.

One exception to this rule was a fight in Enmyo, against Miyake Gunbei, in which Musashi first used his two-sword style in a duel. He killed Gunbei, and named the style Enmyo-Ryu, after the duel (Ryu means school, or style). Later he changed the name to Nito Ichi-Ryu (Two Swords integrated as One School), and then again to Niten Ichi-Ryu. Niten means 'two heavens', and is thought to refer to Musashi's most famous combat stance, with two daito raised above his head. It is said that on his death, not one of Musashi's students could master Niten Ichi-Ryu, and the style died with its creator.

In his later life, Mushashi was a more measured, patient and humble man than in his youth. As well as Niten Ichi-Ryu kenjutsu, he devoted himself to the perfection of the other arts practised by the samurai. He claims to have gained a full understanding of strategy by 1634, and he wrote numerous works on the subject, and also on the art and way of the sword, including his two great treatises: Heiho Sanjugokajo ('The 35 Articles on the Art of Swordsmanship'), expounding the basic principles of Niten Ich-Ryu and the philosophy and combat strategies behind it; and Go Rin No Sho, 'The Book of Five Rings'. Go Rin No Sho - for which the 35 articles is considered a prototype - is probably the most famous of all Japanese works on the martial arts, and is a basic part of any kendo bibliography.

Go Rin No Sho is divided into five sections - the rings - each named after one of the traditional Japanese elements. The Book of Earth sets out the basics of strategy and of living. Musashi identifies four ways of life - farmer, merchant, noble warrior and craftsman - and expounds on the way of the warrior, and the mindset and philosophies required of a true samurai. 'The Book of Water' is a guide to learning combat, and sets out descriptions of various daito moves. 'The Book of Fire' deals with battle strategy and tactics. It emphasises aggression, and the importance of drawing out your enemy's weaknesses and exploiting them. 'The Book of Wind' deals with traditions, and with the intellectual part of strategy; knowing your opponent, and the strengths and weaknesses of his strategy. The last book, 'The Book of Emptiness', deals with the mysticism and philosophy of the warrior. The book is intended as a guide, rather than a how-to manual, and is structured to force the reader to improve himself.

In his later years, Musashi also mastered ink painting, calligraphy, wood sculpture and metalworking. He used the nom de plume Niten, and founded a school of tsuba - 'sword guard' - art which bore the same name. Several examples of his work survive. He is also known as Kensei, sword-saint, and is truly one of the most famous of all samurai. To this day his legend survives, as the undoubted model for Toshiro Mifune's signature role, and for the comic book character Miyamoto Usagi.

Tomoe Gozen

Tomoe Gozen is one of the few examples of a female samurai warrior in Japanese history. More than simply a defender of the homestead in time of necessity, she is described as a warrior of peerless skill, going into battle like a man. She was either the wife of Minamoto Yoshinaka, or by some sources a female attendant, but in either case is described as one of Yoshinaka's senior captains. Yoshinaka was one of the Minamoto lords who fought against the Taira in the Gempei War, and after the Minomoto victory at Kurikawa in 1084 placed Kyoto in Minamoto hands, Yoshinaka felt that he should become the overall leader of the clan.

Yoshinaka's feeling was contested by Minamoto Yoritomo. Yorimoto's forces attacked Yoshinkaka and Gozen at Awazu, and despite putting up a tremendous fight, their forces were overwhelmed. With only a handful of warriors standing, Yoshinaka ordered his wife to flee the field rather than face capture and death. Accounts vary of what followed. Some say that Gozen stayed and died with her husband, while others state that she fled the battlefield. In the latter instance, there is further uncertainty. Most accounts state that she fled with a severed head, but again sources vary between claiming that she took the head of an enemy soldier named Onda no Hachiro Moroshige, or that of her husband taken to keep him from capture. A final debate surrounds the fate of Gozen after her escape, as some state that she cast herself into the sea with her husband's head, while others assert that she became a nun.


Morihei Ueshiba

Despite what many people think or claim, there is no unified philosophy of Aikido. What there is, instead, is a disorganized and only partially coherent collection of religious, ethical, and metaphysical beliefs which are only more or less shared by Aikidoists, and which are either transmitted by word of mouth or found in scattered publications about Aikido.

Some examples: "Aikido is not a way to fight with or defeat enemies; it is a way to reconcile the world and make all human beings one family." "The essence of Aikido is the cultivation of ki [a vital force, internal power, mental/spiritual energy]." "The secret of Aikido is to become one with the universe." "Aikido is primarily a way to achieve physical and psychological self- mastery." "The body is the concrete unification of the physical and spiritual created by the universe." And so forth. At the core of almost all philosophical interpretations of Aikido, however, we may identify at least two fundamental threads: (1) A commitment to peaceful resolution of conflict whenever possible. (2) A commitment to self-improvement through Aikido training.

"The Art of Peace."


The Meaning of Tai Chi - Tai-chi can be treated as the driving force of the universe, which generates two poles (Yang, Yin), then evolving the four phases (sky, earth, men, and matter), which then produce the eight sections ( sky, earth, men, matter, time, space, material and spirit). They give rise to all kinds of activities in the earth.

"Tai Chi Chuan is created through observations of the natural phenomena of matters in the universe, the physiological needs and nervous system of the body. It is the accumulation of the wisdom and essence of the Chinese martial arts. The postures are outstanding and the movements are free, smooth and natural. The whole set of postures is made up of many circles linking together." "In the circular movement, we have to consider "Ying Yan", "Reality and emptiness", so as to increase the practical value of self-defense. We must also incorporate them with the breathing technique so that the strength is concealed under a disguise of gentleness. The movement may appear to be light and weak but the force is actually extremely hard and strong. So Tai-chi Chuan is the training of Man's potential inner energy. It is one of best forms of martial arts and an invaluable treasure of the Chinese culture."



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Bruce Lee

"Research your own experiences for the truth. Absorb what is useful... Add what is specifically your own...The creating more important than any style or system." ~ Bruce Lee

Bruce started training in the martial arts mainly to overcome his fear of being humiliated in a street fight. As a teenager he began to get into more and more fights for no reason at all. And if he didn't win he was furious. As a result, under the great master Yip Man's Wing Chun (meaning "beautiful springtime") teachings, Bruce became a proficient martial artist, not to mention a feared street fighter. However, Bruce actually had more than one teacher. As time went by, Bruce grew. His enthusiasm towards martial arts was more apparent. He was young, energetic and competitive. He soon became acquainted with Wing-chun's basic Kung Fu. Since he was very clever, Mr Yip loved him very much and taught him many secret techniques in Win Chun Kung Fu. He became an expert in Wing Chun Kung Fu.

Black Science - The fighting skills of the shadow warrior – the ninja – made them feared throughout Japan. But the wise man had greater fear for their bloodless methods of domination, which the ninja mind masters preferred to crude physical violence. Ninja broke through their enemies’ mental defenses using direct attack or stealth, comparing such operations to invading an enemy fortress. In this guided tour through the mysterious realm of the ninja, martial arts experts Dr. Haha Lung and Christopher B. Prowant reveal the secrets that will allow you to tell when someone is lying to you, implant false memories, tailor your attack by using the specific keys to each individual’s mind, use verbal patterns and body language to earn your foe’s utter trust, interrogate using unbeatable psychological methods and much more.You will also learn the terrifying truth behind modern mind-control, propaganda and brainwashing techniques used by cults (and our own government), as well as take a look ahead to the future of mass mind control. The wars of tomorrow may well be won or lost in the battlefield of the mind.





Zen Quotes & Ideas

Meditation Techniques.

Martial Art Maneuvers


Search Below for More Realted Information Provided by Google.

Fighting Spirit