oak ridge

Tournament Recap - NAGA Atlanta 2018

Our kids had a great weekend in Atlanta! There were so many hard fought battles and great memories made. With each tournament, I am more and more impressed with their effort, skill, and most importantly - character. I couldn’t be more proud as their teacher!

We posted videos and pictures all of last week on our social media pages, so I thought I’d gather them all up here in one place for you in case you missed some!


Connor (in grey rash guard) slaps on a perfect Anaconda choke in his first match of the day in the Advanced Kids division! He went on to use the same choke with the same result in the finals!


Connor gets his second anaconda choke of the day. I haven’t seen a kid go to sleep in a tournament before, so having it happen twice in the same tournament was pretty crazy. For those concerned, both kids were okay!


6 month’s ago, Grace had to face a big challenge when she stepped up to fight in a boy’s division at her very first tournament. She lost her matches at that tournament, but came back with tremendous experience to build off of - today she picked up two submissions and earned first place in her division!

The wins and medals aren’t why we do this. These competitions for kids help them learn so much about themselves and how to find the spirit and confidence to persevere through such difficult challenges. We had many great performances this weekend - in both wins and losses. And Grace was one of our stand outs!


Look out because here she comes.

This was a big tournament for Maggie. She has improved so much in the last few months, but primarily in one area - starting off strong and bringing the fight to her opponent for the full match.

She demonstrates tremendous skill, heart, and effort in this clip (including a textbook guillotine escape), but what you don’t see are the hours of hard practices she put in to get there. She made huge strides in class with her training partners, and decided she was going to fight differently this tournament.

This is Maggie!

ps - she loved training to this song so we had to throw that in the video.


Ty had some of the toughest matches of the day, and was our vote for the MVP this tournament. He won with mental toughness and good position. I’ll share a couple of videos so you can see the intensity that his opponent’s brought, but has one of our parent coaches said - Ty has ice water in his veins.

In this match he has to overcome a tight Kimura submission, fight back to tie it up before time runs out, and then win in overtime. Please excuse the camera being off occasionally, we were a little preoccupied with the match!

His mental fortitude was they key element, and his physical preparation in the months prior to this are what seals the deal. All of those early Saturday morning practices doing their job…


Here’s another quick one! Grace gets her second submission of the day with a back take from the closed guard and a Mata Leao (Rear Naked Choke).


Alex demonstrated excellent top control and continues to showcase more control and confidence with every tournament. Our team is full of kids that are extremely coachable. We’ve built a great relationship between our coaches and kids, and you can see it in how well they receive guidance and make adjustments mid-match.

This relationship is built on respect, openness, and trust.


Aiden worked really hard on his strategy and position over the last few months and executed it so well in this match.

Watching the whole team takes such big leaps forward from tournament to tournament is an amazing process to be a part of.


Here's a longer highlight of PMA's whole team - we have a little bit of each kid in this video. Our team took 21 competitors to this tournament, with 1 teammate that missed out this time (Mack), as he was in Houston competing with his robotics team at the world championship!

There is footage from both wins and losses in this video. Our kids know that the coaches are just as happy with a win or a loss as long as we get two things - they have fun and give us a perfect effort. And in that regard, we were 21 for 21 this trip.

These kids will remember how tired they were for a few weeks, they’ll remember their matches for a few months, but they will keep the memories of their time together with their team forever!

The Competition Team came back and celebrated last week, and they are right back on the mats training! A little tired, a little sore, but ready to go.

And we had them pose for one last picture with their medals and swords from another incredible trip!

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Choki Motobu - Brawler, Ruffian, Master.

**Today's blog post was written by PMA FILKENJUTSU Black Belt, Gary Hall. Today also happens to be his birthday! This was written by Sempai Gary in preparation for his Black Belt Test this time last year. This is a longer post, but a great look back in history at a prominent martial arts figure. As we have discussed in previous posts, our Kenpo lineage traces back to a man named James Mitose, and many believe Choki Motobu to have been one of Mitose's teachers.

Sempai Gary does a great job of bringing his story to us - enjoy!

- SiFu David


Brawler, ruffian, master. Choki Motobu has to be considered one of the most unconventional karateka luminaries of his very special time.

EARLY LIFE

Choki Motobu was born on April 5, 1870 in Shuri, Ryukyu Kingdom (now Japan). His father Choshin was a descendant of the sixth son of the Okinawan King, Sho Shitsu, namely Prince Sho Ko, also known as Motobu Chohei (Iwai 1994). Due to this lineage, the male members of the family were permitted to retain the "CHO" character in their given names (Sells 1996).

Young Choki, as third son to Choshin, was regarded by the Okinawan culture of the day as the rough equivalent to a feudal lord in social status. It has been stated by the noted historian Kinjo Hiroshi that although Choki was fathered by Choshin, Choki's mother was not his wife, but a courtesan. Choki was thus only a half-brother to his elder Choyu, the eldest son in the family. It has been further suggested that he was constantly reminded of this fact as a child, and this may have contributed to his rather stern temperament. Choki's eldest brother Choyu, in the Okinawan tradition, was given a fine education. He was also taught the family's secret "Ti" (fighting art) tradition that was only passed on to the eldest son. Young Choki was never allowed to participate. By some accounts, however, Choki secretly looked on at his elder brother's training and picked up many rudiments of the art. (Ross, 2012)

MArtial Arts background

The background of these Okinawan fighting arts can be traced from their origins elsewhere up to and through China. With the coming of the Bronze and Iron ages, weaponry and the means for employing such weapons improved. Early Greece (approximately 700 B.C.) recorded a systemized and cultivated form of self-defense called pyrrhic and pankration which utilized kicking, punching and wrestling in combat. In India, around and about 1000 B.C., the warrior class Kshatriya was believed to have a martial art skill known as vajramushti. 

China’s introduction to the martial arts is somewhat vague, but according to historians, it is widely accepted that Boddhidharma, an Indian monk and first patriarch of Chan or Zen Buddhism traveled by foot in the sixth century across the Himalayas into China’s northern province of Hunan. There, he settled in the Songshan mountains at the Shorin Ji (Shaolin temple) and introduced to the priests in the monastery 18 exercises and 2 sutras called Ekkinkyo and Senzuikyo. With the passing of time, these exercises of Boddhidharma (called Daruma Tashi by the Japanese, also known as Tamo by the Chinese) which represented the movements of animals, both real and mythical, were furthered refined and developed into a fierce form of self-defense known as the Shaolin temple fist method (shorin-ji-kempo). Thus, the shaolin temple is believed to be the birthplace of systematized martial arts. This is especially significant to the development of Ryukyu martial arts, as generations of secrecy have created a veil of mystery around the development of Okinawan karate. It is known that this Chinese method of self-defense flourished throughout Asia and eventually found its way to Ryukyu archipelago. 

okinawan history

History has recorded that in 1392, 36 families emigrated from China to Okinawa for cultural exchange. It is known that among the 36 families were experts in the martial arts who solidified the growth and interest of Chinese Kempo in Okinawa. Since the Ryukyu people were able seafarers and traders who frequented foreign ports, wares purchased in Indonesia and Southeast Asia were brought to Okinawa and were reshipped to China, Korea and Japan. Through this extensive trading and foreign contact, the already existing methods of self-defense in Okinawa expanded. The establishment of the Sho Shin ruling dynasty in 1477 brought about a ban on weapons across Okinawa. This move to more completely control the citizens became a very important development in the refinement of both armed and unarmed combat.

The year 1609 remains one of the most significant in Okinawan history. The outcome of one of the many Japanese civil wars of that time saw the Satsuma clan of southern Kyushu defeated by the Togukawa clan. As per the customs of the day, close governmental scrutiny was maintained over the losing (Satsuma) samurai. By decree of the ruling Togukawa clan, the Satsuma was permitted to march against the Ryukyu islands. This was done to both punish Okinawa for its refusal to provide with materials needed by Japan for an earlier attack on China and to remove the Satsuma’s samurai from the Japanese homeland because of the persisting armed threat they posed. This military expedition effectively took away Okinawa’s independence, making way for complete Japanese control.

A number of prohibitive ordinances proclaimed by the Satsuma warlord,  Shimazu, addressed a complete ban on weapons by the Okinawans. Arms found in their possession were immediately confiscated and the owner severely punished. Many clashes ensued, with the Okinawans being forced to utilize any and all weapons available. These weapons often took the form of hands and feet as well as agricultural and fishing related. Several failed attempts of disunited resistance led to the various kempo and tode societies banning together to form a unified front. The result was a new fighting style that was simply called te and was translated as hand

During the early years of development, te was shrouded in secrecy due to draconian laws addressed at eradicating all semblance of any Okinawan martial art. Eventually, Japanese occupation ended with Okinawa becoming an official part of the empire. However, the centuries-long underground training and application of te did not end overnight, it was too ingrained. However, the passing down of these necessarily brutal techniques had been done without being committed to writing so they were effectively only handed down to a select few. With the occupation lifted, the martial art now known as karate (the name having been changed from te sometime in the 1800s) was now the fighting art of Okinawa. Methods or systems began to evolve and became categorized as different ryu (styles). These ryu took on the characteristics and thinking of those destined to become the masters of that particular system. By 1903 karate had become more or less standardized into these ryu, many of which are still being taught today. (McCarthy, 1987)

Motobu's Style

Against this history, Choki Motobu’s personal fighting style was primarily his own invention rather than a reflection of any established system of the time. He learned some of the Motobu family style by watching his brother practice and utilized the knowledge by bullying others into street fights so that he could test his techniques in action. He had a great deal of enthusiasm for the martial arts, but most Okinawan masters refused to teach him for fear he would certainly misuse the skills (Wilson, 2010). McCarthy seeks to debunk the entirely self-taught notion to some degree, “Although he was reputed by his detractors to have been a violent and crude street fighter, with no formal training, Motobu was a student of several of Okinawa’s most prominent karate practitioners. Many teachers found his habit of testing his fighting prowess via street fights in the tsuji (red light district) undesirable, but his noble birth may have made it hard for them to refuse him instruction (McCarthy, 2002).

In 1923, perhaps in an effort to find greener pastures, Motobu moved with his family to the city of Osaka on mainland Japan and was hired as a night watchman at a textile company. ( Iwai, 1994)     One day he attended a series of exhibition matches by a Russian (or German) boxer who had been touring Japan as part of a cultural exchange program, fighting Japanese jujitsuans and other martial artists (karate was then unknown in Japan). Motobu, though 52 years old at the time, could not resist entering the competition. He is said to have simply dodged and blocked the Russian’s punches for the first round, without countering. In the second round the Russian charged in and was abruptly stopped by a front kick to the solar plexus, then felled by a single strike to the temple (or under the nose). The Russian was knocked unconscious—some say he never fully recovered—to the great astonishment of the audience, who had never seen such techniques. (Wilson, 2010). This great victory, however, was the catalyst to what some martial artists would characterize as one of the most famous conflicts between leading exponents of their art, the two Okinawan karate masters who helped pioneer the introduction of karate into mainland Japan (Apsokardu, 2012).

motobu and funakoshi

As background, Funakoshi Gichin is the founder of what is now called Shotokan Karatedo. He is commonly referred to as the father of Japanese Karate, and rightly so. No one did more to bring karate to the forefront in Japan, and Funakoshi's efforts to get karate recognized by the Japanese Butokukai (the Japanese organization established by the government to oversee, preserve and promote martial arts in Japan) were immensely impressive. Interestingly, among his peers and teachers, Funakoshi was never considered a dominant fighter or technician. He gained his reputation as a gentleman of elegant thought; a man of philosophy, linguistic skill, political acumen, and of course karate talent.(Apsokardu, 2012) Standing in stark contrast to this elegant and culturally polished rival was the practical and pragmatic Motobu (his detractors were in the habit of referring to him by a childhood nickname “Saru” or “ the Monkey”. Which interestingly enough was a nod to his unusual agility).

When the aforementioned boxing event was reported in a 1925 issue of Kingu, (a popular national magazine),  it was Funakoshi's image, not Motobu's that appeared, although Motobu's name was correctly reported. Some have suggested the reason for this error was purposeful, the articles having been authored or information augmented by Funakoshi's students. Another explanation is that image of Motobu just was not available and the magazine just substituted an image. Whatever the reason, this event exacerbated a rivalry that was really based on professional and personal animus. The differences between Funakoshi and Motobu weren't just theoretical; they encountered and disliked one another. Motobu considered Funakoshi to be rather soft and superficial in his understanding of karate. He observed the changes Funakoshi was making (considered school karate) and decried them as moving away from the true core of Okinawan karate that he had seen and experienced.

Funakoshi on the other hand looked upon Motobu with disdain due to his constant rough behavior and his apparent lack of social grace.  Funakoshi did not believe Motobu was a proper representative of karate. Perhaps this was only natural. Funakoshi was a natural politician. He was also organized and philosophical. He had been an Okinawan educator, taught Okinawan school karate, was fluent in Japanese and its social customs, and was comfortable as a karate educator in Japanese society. Motobu, in contrast, had avoided formal schooling on Okinawa, thus never became fluent in the Japanese language or its culture. Motobu's karate was also somewhat self-developed, partly from experience in small personal classes by his karate instructors, partly self-taught in challenge matches the back streets of Okinawa. In personality, Motobu was also much more direct, outspoken and opinionated. 

What is without question, is the popularity generated by this unexpected victory propelled both Motobu and karate to a degree of fame that neither had previously known in Japan. Motobu was petitioned by several prominent individuals to begin teaching. He opened a dojo, the Daidokan, where he taught until the onset of World War II in 1941. Motobu faced considerable difficulties in his teaching, chief among those was his inability to read and speak mainland Japanese. As a result, much of his instruction was through translators, which led to the rumor that he was illiterate. This rumor has been largely discredited by the existence of samples of Motobu's handwriting. Motobu was active in the martial arts until his death on April 15, 1944 in Shuri, Japan. It is worth mentioning that his legacy is being carried on by his third son, Chosei, who at age 91 still teaches his father’s style, Motobu-Ryu.

My introduction to the life of Choki Motobu has brought me back to what FILKENJUTSU SiJo Bruce Corrigan has said on more than one occasion (I will paraphrase): “We know what we teach works, the history of martial arts is populated by some rough individuals, but as a consequence of their lifestyle these techniques are street tested”. Choki Motobu was a fascinating figure to research: practical, pragmatic and dedicated to his craft. 

Gary Hall, February 2017

Gary Hall (1st on the left, back row) is pictured here after receiving his Black Belt in FILKENJUTSU Kenpo - February 19, 2017.

Gary Hall (1st on the left, back row) is pictured here after receiving his Black Belt in FILKENJUTSU Kenpo - February 19, 2017.


Works Cited

Alexander, G.W. Okinawa, Island of Karate. Lake Worth: Yamazato Publications, 1991. Print.

Apsokardu, Matthew. Funakoshi vs. Motobu. Fighting Arts. 2012. 11 Feb 2017.

Bishop, Mark. Okinawan Karate; Teachers, Styles and Secret Techniques. London: A. & C.                  Black.  1999. Print.

Iwai, Tsukuo. Koden Ryukyu Karatejutsu. Tokyo: Airyudo, 1994. Print. (Partial translation by    Joe Swift)

McCarthy, Pat. Classical Kata of Okinawan Karate. Valencia: Black Belt Communications,    1987. Print.

McCarthy, Patrick and Yuriko. Motobu Choki: Karate, My Art. International Ryukyu Karate                    Research Group. 2002. Print.

Ross, Tom. Choki Motobu: Through the myth to the man. Fighting Arts. 2012. 11 Feb 2017.

Sells, John. Unate. London: W.M. Hawley, 1995. Print 

Wilson, Wendell. Essays on the martial arts. Mineralogical Record. 2010. 11 Feb 2017.

FAQ - What is a Red Belt?

One of the purposes of this blog is to answer some of the frequently asked questions from our students, parents, and others interested in the martial arts, self-defense, or just health and fitness.

In the martial arts world, one of the things that people are often most curious about is the belt system. What do the different colors mean? How long does it take to get them? Why do various arts have different colors?

Today, let’s take a minute to clear up the Red Belt.

In some Korean martial arts, you will see a red belt used as one of the standard colors leading up to the Black Belt. That is not the red belt that we are discussing today. The red belt that everyone is curious about is the one you see the “old guys” sometimes wearing.

Different martial arts use it in different ways, but most commonly, you will see the red belt worn by someone who has reached 10th degree in their particular style. 10th degree is the highest rank achievable.

Two of the primary martial arts taught at Progressive Martial Arts Academy are Kenpo and Jiu Jitsu. Specifically FILKENJUTSU Kenpo and Brazilian Jiu Jitsu.

Kenpo has many different groups, and all have decided on different ways of using the ranks and colors. In our method of teaching Kenpo (FILKENJUTSU), we do not currently use the red belt. 

For example, the highest ranking Black Belt in our family, is my father, Bruce Corrigan. He is the only 10th degree Black Belt in FILKENJUTSU and is the founder of our method of teaching. He prefers to just wear the Black Belt with ten stripes (or even just a plain Black Belt!). He also has a Black Belt with a red border which denotes that he is the founder/head of the family.

In Brazilian Jiu Jitsu, at 7th degree the belt worn is red and black, at 8th degree it is red and white, and at 9th and 10th degree it is red. Check out this trailer for an upcoming documentary done by BJJ Hacks on the Red Belts - 

For more on belt ranks and instructor titles check out these posts:

Ranks and Titles, Part 1 - http://www.pmaoakridge.com/blog/ranks

Ranks and Titles, Part 2 - http://www.pmaoakridge.com/blog/titles

The Importance of the Black Belt - http://www.pmaoakridge.com/blog/blackbelt

The Black Belt Problem - http://www.pmaoakridge.com/blog/theblackbeltproblem

I did a breakdown of our different colors for our YouTube channel a couple of years ago too - 

At the end of the day, your belt is used to keep your gi (uniform) together. We often place a little too much importance on what color it is. And at a time when many martial arts have been watered down, and promotions have been sold rather than earned, what is most important is that you are training with a good teacher who also has legitimate training.

Wait, if you're reading this you are training, right? If not, please call me NOW at (865)481-8901 or email me at dcorrigan@pmaoakridge.com and schedule a FREE private introductory lesson. 

It is free, and there is no obligation to keep training afterward. Come see for yourself why this will be the best decision you've ever made.

That's enough for now, see you on the mat!

What are some of your questions? Comment on Facebook or email them to me at dcorrigan@pmaoakridge.com and I'll try to cover them in future posts!

2017 PMA Year in Review

The week between Christmas and New Year’s is one of my favorites of the entire year. After getting extra time with family for Christmas, we have a week to look back on the past year and plan for the year ahead.

This year was full of many good memories, but I’ll take just a minute to highlight some of my standouts and then the video can do a pretty good job with the rest!

February 2017 - Gary Hall and Linda Davis were promoted to Black Belt in FILKENJUTSU Kenpo!

April 2017 - We took our Youth Competition Team to NAGA Atlanta, and they earned 6th place at their first significant tournament!

May 2017 - Brittany Corrigan and Kristie Fox finished their instructor training program/test, and became official PMA instructors!

May 2017 - Brittany, Charlie, and I had the opportunity to spend 11 days in Brazil, with our close friends Felipe and Ana, and their son Bento. This trip will forever be one of our greatest adventures and favorite memories. We can’t thank Felipe enough for bringing us to his home and showing us his city.

July 2017 - PMA students took a field trip over to my Dad's dojo in Knoxville to surprise him during his class for his birthday!

September 2017 - My brother, Nick, and his wife, Kylie, welcomed their first child, RJ Corrigan, into the world!

October 2017 - PMA’s Youth Competition Team brought home 2nd place at the NAGA Tennessee Grappling Championship out of 38 teams!

November 2017 - Sempai Madelyn Fowler competed in her first tournament and brought home the silver medal at the NAGA North Carolina Grappling Championships in her No-Gi division, and the gold medal in her gi division!

I liked competing when I was a child and young adult, but it never became a love of mine. However, coaching Jiu Jitsu has genuinely become one of my favorite aspects of my life. This year, we have had some incredible performances from our students (in both wins and losses), and I couldn’t be more proud!

December 2017 - Progressive Martial Arts Academy turned 15 years old! And December couldn't have been a better month. Brittany Corrigan and Kristie Fox were promoted to Black Belt in FILKENJUTSU Kenpo! And Austin and Eli Fox were promoted to Junior Black Belt, along with many other students earning their next rank this month. We closed out the year with a wonderful holliday party, and some fun last classes of the year. For the kids class, we had 60 kids out on the mat together! 

Here are our Top 10 songs played from 2017 at PMA (dominated by Imagine Dragons this year!):

1. Feel It Still by Portugal. The Man
2. Believer by Imagine Dragons    
3. Whatever It Takes by Imagine Dragons
4. Thunder by Imagine Dragons    
5. Shape of You by Ed Sheeran
6. Rise Up by Imagine Dragons
7. Stay by Zedd & Alessia Cara
8. Something Just Like This by The Chainsmokers & Coldplay
9. Hard Times by Paramore
10. Shine on Me by Dan Auerbach

You can listen to the playlist while working out this week and getting ready for the new year here: 

 https://itunes.apple.com/us/playlist/pmas-top-10-songs-of-2017/pl.u-LRyv4IBkmEE

We had a crew of senior students and instructors in over the holiday break helping us update the dojo a little bit, so get excited about a new look when you come in next week! Thank you so, so much to the people that helped us out with that - you know who you are! :-)

We expect incredible things out of 2018, and can’t wait to share it on the mat with all of you.

Now, enjoy this video to wrap up 2017.

Happy New Year!

David Corrigan
Owner/Chief Instructor
Progressive Martial Arts Academy

The Dynamics of Our Kenpo

Many years ago, long before the term “Mixed Martial Arts (MMA)” was ever coined, this logo was designed.

PMA.jpg

 I chose the triangle to represent strength and improvement.  A triangle represents structural strength, but it is also the mathematical symbol (delta) for incremental change.  This change is what a good martial artist must continuously seek as necessary to remain effective.  However, change doesn’t mean that you abandon your art for another – through the process of refinement and change, you make your art stronger and better.  In my case; Kenpo.

The three characters on the triangle represent the base concepts that develop the dynamics of my Kenpo. 

The kickboxer represents the use of constant and energetic movement along with the inclusion of aspects from every possible philosophy of kickboxing/boxing, i.e. western boxing, Pananjakman, Panantuken, Savate, American rules, European, Thai – and whatever else the future brings.

The Kali warrior represents the dynamics of weapons; not in the form of just memorizing a weapons kata, but complete integration.  This integration means – if I can do it empty hands, I can do it with weapons and vice versa.  Weapons training will also significantly develop the awareness of range and entry into combat.

The ground-fighters not only represent the full integration of ground and throwing arts, but also represent the study and mastery of the points of transition from vertical combat to horizontal combat and horizontal back to vertical.

The center of the triangle contains the symbol “taijitu.”  The color of this particular version of the symbol represents Jeet Kune Do (JKD).  JKD is the root of the inspiration that “started it all,” and opened my path to acceptance, redesign, and change while still maintaining the art of Kenpo.  This symbol also represents “integration to create one.”   That means we don’t practice each art as a separate way but practice one art (Kenpo) that incorporates aspects of arts with other origins and primary focus.

However, and probably more importantly, the taijitu (Yin & Yang) represents the natural balance of traditional with modern.  If you only accept the modern and discard the proven methods of traditional arts or the way Kenpo develops a way of life which includes ethics, benevolence, warrior tradition, and health – you lose balance and meaning.

What Style Do You Teach?

This is probably the second most popular question from prospective students walking into a dojo, second only to "How much do you charge?". At Progressive Martial Arts Academy, the easy answer to "What style do you teach?" is simple - Kenpo. At the heart of our method of teaching (FILKENJUTSU) is Kenpo. The thing is with Kenpo though, when you trace our lineage back to where our family of Kenpo (KAJUKENBO) got started, you find that even then they recognized one "style" didn't cut it. Hence the name KAJUKENBO, which is an acronym for many styles integrated into their method of teaching - KArate, JUdo and JUjitsu, KENpo, and Chinese BOxing.

While KAJUKENBO got started before Bruce Lee's heyday, Bruce Lee was a major contributor, if not the main contributor, to this idea of not being confined by your "style." Around his personal emblem or logo that he used for his method of teaching (Jeet Kune Do) were the words "using no way as way, having no limitation as limitation." He was one of the first to forget about trying to decide which "style" was better and just train to be the best martial artist you can be. This was the founding belief my father had behind both our method of teaching, FILKENJUTSU, and the name of our academy, Progressive Martial Arts.

So the next time you are talking to a friend, coworker, or family member and they ask what style of martial arts that you train in, you have to make a choice: "Should I give them the easy answer or the real answer?" Either one is okay! Decide which one they want to hear, and go with that. If you have the time to explain the above and tell them about all of the "styles" involved in our method of teaching, that's great. If not, just go with the easy answer and tell them Kenpo, Karate, Jiu Jitsu or something along those lines.

And if they have 30 minutes to spare, you can send them to the PMAOakRidge YouTube channel to watch my family's presentation on our method of teaching. Here it is if you haven't seen it yet:

It's What You Do That Defines You

I’d like to discuss how Batman relates to my journey in martial arts.

In one of my favorite movies, Christopher Nolan’s “The Dark Knight,” there is a part in which the maniacal Joker has rigged two boats to blow up, one filled with innocent passengers and the other with criminals. He gives each boat a trigger that will blow the other up, but both will explode if no one takes action. Of course, this situation sparks a huge debate amongst the two boats about who should get to live. In an extremely powerful scene, a huge, scarred, and angry-looking criminal approaches the ship captain with the trigger. He says, “Give me that trigger, and I’ll do what you should have done ten minutes ago.” The captain shakily hands him the trigger, and the criminal throws it out of a window.

Now you’re probably thinking, “What did that possibly have to do with martial arts? There was no fighting!” Naturally, I have learned techniques, forms, attacks, defenses, and other fighting skills in the time I’ve been at PMA, but martial arts has taught me a much more important lesson: To ignore labels.

In the movie scene, everyone expected the criminal to blow the other ship up simply because he was wearing the orange jumpsuit. Instead, he chose the higher moral path. He was not his label. This concept is something I’ve had a hard time grasping throughout my pubescent time in public school as I tried to be someone I thought would make me cooler. Instead, it sent me down a bad path and caused me to lose sight of what kind of person I wanted to be.

When I started lessons at PMA, my self-esteem was rock-bottom. I never imagined I would be where I am now. As I grew as a martial artist, my vision began to clear, and I saw the parts of myself that weren’t so great as well as the ones that made me “me.” Martial arts pulled me off of a bad path and set me firmly on one full of light and success.

Now, I’m independent, confident, and I strive to be the best person I can be. As difficult as it is to ignore the judgments and opinions of others, what really matters is what you think of yourself and being the kind of person you want to be.

You are not your label.  You are not a dork, nerd, loser, four-eyes, fatty, dummy, jerk, wacko, ugly, or anything else you may have been called. Everyone is made up of too much, good and bad, to be labeled. Labels don’t define you; it’s what you do that defines you. So, just like Batman, do what makes you the best you can be!