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ABOUT KEMPO
Original contributors: Bryan Zarnett/Paul Seaby
by: Mark Urbin
TABLE OF CONTENTS
* NOTE * Certain names and times are in conflict
and the most commons ones where used in this document The art of
Kempo, also written as Kenpo is unique as far as its history goes
in two respects; it is considered by many the first eclectic martial
art, as well as having its founding roots stretch back to 520 BC
The person who was a catalyst of the way of Kempo was a prince
and warrior of southern India called Bodhidharma. According to
the records of the Lo-Yang temple, Bodhidharma was a Buddhist monk
under the tutelage of Prajnatara and it is presumed that upon his
death bed that Prajnatara requested Bodhidharma to travel to China
where he felt the principles of Buddhism where in decline, and
that the knowledge of dhyana (Zen koans) should be known.
It is estimated that in 520 BC during the Southern
dynasties that Bodhidharma entered China and traveled northward
to the kingdom of Wei where the fabled meeting with emperor Wu
of the Liang dynasty began. This meeting is recorded do to the
intense conversation and discussion of Buddhism and dhyana which
took place. The meeting was to no avail, his words to the worldly
emperor meant nothing, and thus, sullened by his attempts, Bodhidharma
left the palace of the emperor and travelled to the Honan province
where we entered the Shaolin temple and began a martial history.
Bodhidharmas depression grew once he reached the
famed Shaolin temple for Prajnatra's telling was true. The monks
where in a raged condition physically and mentally diminished do
to the excess amount of time the monks spent in meditation and
little else. Many of the monks would often fall asleep in meditation
while others needed assistance in the basic necessities of life
- so feeble was there condition.
For an unknown period of time Bodhidharma meditated
in a cave at the outskirts of the temple seeking for a way to renew
the feat of Buddha's light, as well as letting the monks regain
control over there lives. Upon his return Bodhidharma instructed
the monks into the courtyard, from the strong to the feeble and
began to explain and work with them in the art of Shih Pa Lo Han
Sho, or the 18 hands of Lo Han. These techniques which are the
foundation for almost all martial arts today where never originally
intended to be utilized as methods of fighting but where a manner
in which the monks could attain enlightenment while preserving
there bodies health.
During the Sui period, approximately forty years
or so after the death of Bodhidharma it is told that brigands assaulted
the Shaolin monetary; one of many attacks that would occur until
the early twentieth century. During this first invasion, the monks
attempts at defending there temple where futile, there skills where
not attuned to fighting techniques and it looked as if the temple
would fall. A monk of the temple, with reference only as the "begging
monk", during the last siege of the temple by the brigands
attacked several of the outlaws with an array of aggressive hand
and foot techniques, killing some and driving the remaining attackers
away. The other monks where so inspired by the display of this
single priest that they requested tutelage in this martial style
as a means of protection. In later scripts this fighting art was
recorded as Chuan Fa or Fist Method.
Over several decades the fighting arts of the
Shaolin temple grew and where said to prosper over 400 arts in
total over the next several centuries. Several decades after the
fight of the begging monk, a master of Chuan Fa called Ch'ueh Taun
Shang-jen was said to have rediscovered the original Shih Pa Lo
Han Sho which had been lost for many years. Ch'ueh over a period
of time integrated his art of Chuan Fa with that of Lo Han increasing
the total number of techniques from the original eighteen to total
of seventy-two. For several years after this period Ch'ueh traveled
the country side of China promoting his art in several gruelling
fighting matches until he came upon a man named Li in the province
of Shensi. Li, a master of Chuan Fa as well as other martial ways
(including rumors of Chin Na) traveled and trained with Ch'ueh
for some time developing the curriculum of Chuan Fa to form a total
of one-hundred and seventy techniques. Furthermore, they categorized
these techniques into five distinctive groups distinguished by
various animals who instinctive reactions best reflected the movements
of this new Chuan Fa. Upon there return to the Shaolin temple of
which both Li and Ch'ueh belonged they presented to the other monks
wu xing quan, the five animal form and brought to the Shaolin temple
a new stage in martial arts evolution.
Over the next several centuries the history of
Chuan Fa and its advent to Kempo is ragged in its tales and difficult
to gain accurate descriptions. What is known is that the art of
Chuan Fa remained and is still practiced in China, but its teaching
also found its way to Okinawian Islands and the Ryukyu kingdoms
as well as Japan. In both places, the art was referred to as Kempo
or Law of the fist. Between the Sui and Ming periods (an 800 year
gap) it is considered that many a wandering monk traveled across
Japan and Okinawa bringing with them a working knowledge of the
art of Kempo which explains its wide-spread distribution. The art
of Chuan Fa which translates into Kempo would have been taught
as a supplement to the daily spiritual training the monks endured.
Many of the monks would often choose disciples or teach at various
Buddhist temples bringing forth the word of Buddha, and the power
of Chuan Fa. From there the art of Kempo could easily spread among
the commoners and nobles alike
Another reason for the founding in Kempo can be
seen in the numerous trips the Japanese and Okinawian made to China
to learn the fabled art of Chuan Fa. Some people would disappear
for many years, presumed dead by there families, only to resurface
as a master of Kempo and other martial arts. One such man was named
Sakugawa. Sakugawa lived in the village of Shuri on the island
of Okinawa and traveled to China during the 18th century to learn
the martial secrets of the Chuan Fa masters. For many years Sakugawa
had not been seen and many believe he had died in his journeys,
but after much time he did return, much to the surprise of his
kin. Sakugawa has learned the secrets of Chuan Fa and had become
a master of some repute himself. Over many years of refinement
the art Sakugawa had learned slowly was renamed to Shuri-te and
is considered the predecessor to many forms of modern Karate.
Another member of Shuri, Shionja also traveled
to China as Sakugawa did but on his return in 1784 brought with
him a Chinese companion named Kushanku. Both men brought with them
the art of Chuan Fa which they had studied together in China and
began to demonstrate around Okinawa. Its is believed that Kushaku
and Shionja had the greatest influence in Okinawian Kempo styles
than any other martial artist.
Unfortunately, the evolution of Kempo in Japan
is just as abrupt and mysterious although a flurry of attention
to the art was brought during the reign of Hideyoshi Toyotomi's
plans of conquering China. It is referred that many a samurai on
there return from China whether during or after the war brought
with them extensive knowledge of Chuan Fa and throughout the years
modified it to include there own arts of Jujutsu and Aikijutsu
and it is at this state where the greatest evolution of Kempo takes
place since the time of Li and Ch'ueh.
At the beginning of the seventeenth century two
families, Kumamoto and Nagasaki brought knowledge of Kempo from
China to Kyushu in Japan. This art was modified throughout many
years into its current form which is referred to as Kosho ryu Kempo,
or Old Pine Tree school and it is from here that most modern forms
of Kempo are derived. In 1916 at the age of five, James Mitose
was sent to Kyushu from his homeland in Hawai for schooling in
his ancestors are of self-defense called Kosho ryu Kempo. For fifteen
years he studied this art which was a direct descendent of the
original Chuan Fa. After completing his training in Japan, Mitose
returned to Hawaii and in 1936 opened the "Official Self-Defense" club
in Beretania mission in Honolulu. It was here that the five major
Kempo influences; Thomas Young, William Chow, Edmund Howe, Arthur
Keawe and Paul Yamaguchi would study and bring Kempo to the world.
In 1934, before Mitose's return to the United
States, the term Kempo-Karate was first used. In an issue of Yoen
Jiho Sha newspaper an advertising for the visit of Chogun Miyagi,
a famous karateka and founder of Goju ryu karate do, to the island
of Hawaii. The use of the two terms is under speculation. Some
suspect it was simply an advertising scheme while others believe
that Chogun Miyagi's Goju ryu was actually a pure form of Kempo,
and that the term karate was simply more well known.
William Chow is perhaps responsible for the largest
leap of Kempo to the general public. William K.S. Chow studied
Kempo under Mitose for several years and previously had studied
his families art of Kung Fu. Chow united, like many Kempo masters
before him the arts of Kosho ryu Kempo and his family Kung fu to
form a new art which would eventually be referred to as Kara-ho
Kempo. In 1949, Chow had attracted a number of students to his
own teachings and opened a dojo of his own at a local YMCA. To
make a distinct variation from Mitose's Kempo, Chow referred to
his art as Kenpo Karate. Throughout the next few decades Chow made
many innovations to the system including the use of circular techniques
of his Kung Fu, as well as various kata or forms based on the primary
linear and circular techniques of his art.
One of Chows most flourishing students was a Hawaiian
native named Edmund Parker. Ed Parker as he was known was the last
highly significant figure in the current tale of modern Kempo unleashing
it to the world as well as propelling it into his current form.
In 1954 Edmund Parker earned his black belt in kara-ho Kempo and
two years later became a household name, teaching his art to the
likes of Elvis Presley, and Steve Mcqueen. Ed Parker further refined
and defined the techniques of Kara-ho Kempo till he perfected his
American Kenpo Karate system. Ed Parker is often referred to as
the father of American Karate.
From here, Kempo and its other forms take many
twists and turns, constantly evolving into new states of being.
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With all things certain paths are given directing
us on various roots to a final goal. Sometimes this goal is reached
in a very short period of time, while at other times that goal
is never completed by expanded by as new paths cross the original.
The direction in which Kempo leads its practioners is similar to
that - its goals are represented in a sphere, constantly expanding
with the final goal only being the beginning of a new stage.
Kempo is a unique martial art having been founded
several centuries ago in the Chinese Shaolin temple, thus bringing
with it a certain air of mystery. As a martial art, Kempo is referred
to as a Do. The Do is referred to in Buddhist Zen scripts as a
path towards enlightenment. Lao Tzu, a priest of Taoism said "Mastering
others requires force; Mastering the self requires enlightenment.." This
phrases sums of the full circle of what Kempo strives towards.
Although on its surface Kempo can be seen as a unique form of self-defense,
hidden beneath its physical exterior are levels where characteristic
centralization of mind and body form. At this level, Kempo's practioners
up from a simple form of fighting to a higher level of ability
- a level of enlightenment. Ying Kuchan, a Shaolin monk and master
of Kempo after a lengthy period of meditation in a Zen rock garden
spoke of Kempo saying "Kempo is the power of adaptability
and yielding; the harmony of all things working together."
On the surface, Kempo's uniqueness lies in its
comprehensive and diversified means of unarmed defense. Shaolin
Kempo Karate proper is both an armed and unarmed system of combat
incorporating applications in varying appearances and method. On
an external level, Kempo is a no holds barred fighting system of
offensive and defensive methods with equal emphasis of striking
techniques with the hands and feet; immobilization and controls;
projections and takedown; as well as weaponry and various spiritual
and healing arts. Shaolin Kempo is a street wise defensive art
that does not restrict its students in methodology. Clawing hands
evolve into slashing feet. Cunning joint locks turn into devastating
hip throws. Evasive blocks turn into breath closing chokes.
The possibilities are endless. The only true fighting
systems are those where there are no rules applied. From the books
of the Han dynasty we learn "Nothing is impossible to a willing
mind." And it is from this saying that we can derive the upper
principles of Shaolin Kempo. What sets Kempo apart from boxing,
wrestling, and Sunday night football is an emphasis on centralization
of body and mind, a concept understood by very few. Many people
are quiet happy with only the surface value of Kempo taking its
studies for reasons of physical health, self-defense, or a Monday
night hobby. But for what level of imperfection will you settle
for in yourself? If there is more to Kempo why not grasp it. Kempo
tries to build a persons psychological persona as well as turning
the ego self into the egoless self. The true Kempo is not a means
of felling an opponent by force of hand or weapon, nor was it originally
intended as a means of arms. Kempo calls for a bringing of inner
peace to the self, and the universe around us. A master of Kempo
is not only a master of self-defense, but a master of himself.
In the end, the direction of Kempo was best described by Bruce
Lee when he commented on his art of Jeet Kune Do; "To have
no way as a way; To have no limitations as a limitation."
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Nothing. Actually, the only difference is in the
translation of the Kanji to its English form. The word Kempo and
Kempo are both pronounced the same and both mean "Law of the
Fist." When the Japanese Kanji for Kempo is brought into English,
either a "m" or "n" is placed in the word.
Its sorta like saying "Qi" or "Chi", "Gung" or "Kung." Generally
though, the more "traditional" (lightly used) forms of
Kempo use the "Kempo" form, while the more non- traditional
or contemporary versions use "Kenpo." William K.S. Chow
was the first person to use the term Kenpo to show his break from
the Mitose family Kosho ryu kempo.
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In no way is this a complete list of Kempo styles.
The following is a list of Kempo styles that I have some information,
if even vague amounts on. If you have information on forms of Kempo
not listed here, please send me some so I can add it to the FAQ.
The following list is of "unique" versions of Kempo,
thus the 50-thousand versions of American Kenpo, etc, although
referred to as different names (although they are the same) are
not listed.
KOSHO RYU KEMPO - This style of Kempo was
brought by visiting monks to to the Mitose family in the 15th century.
Over the centuries this form of Shaolin Chuan Fa was blended and
refined with forms of Jujutsu that where common to the area as
well as Rinzai Zen philosophy, Kyudo, and other arts. Kosho, the
name of the Mitose clan means "Old Pine Tree", and the
Kempo art is referred to as "The Old Pine Tree Style." The
current "grandmaster" of Kosho-ryu Kempo is Bruce Juchnik
who uses the term Kosho Shoreiryu Kempo to describe Mitose's school
of Kempo. Mitose's son Thomas Barrow Mitose also teaches the true
for of his fathers art and is considered by some the true grandmaster
of the Kosho ryu style.
KARA-HO KENPO - Founded by William K.S.
Chow, a student of James Mitose, this Kempo offshoot is a blend
of the Kosho ryu Kempo and 5-animal Kung Fu of the Chow Family.
Kara-ho Kenpo utilizes many circular as well as linear techniques
and requires 500 such techniques to be learnt for black-belt status.
Currently, Karaho Kenpo is under the evolution of Sam Kuoha who
has added various new techniques as well as 12 kata based on Chow's
original 12 base linear techniques. Karaho Kenpo is currently the
fastest growing Kempo organization with currently over 5000 members
to its teachings.
SHAOLIN KEMPO - The Shaolin Kempo system
was formed by Fred Villari, a student of American and Shorinji
kempo systems. Fred Villari's system tends more towards the Kung-Fu
element and utilizes the techniques of the 5 animal Chuan Fa to
a large extent. Added to the Kempo system was white tiger Chin
na techniques as well as various Aikijutsu projections and immobilizations.
AMERICAN KENPO - An offspring of Kara-ho
Kenpo, Ed Parker's American Kenpo system is the largest and most
well organized system in existence. Parker took what C Chow taught
him and organized every technique and movement into a format that
could be broken down into levels for all students. Parker felt
that innovations he added to his Kenpo eventually made up 85% of
the system and thus he renamed it American Kenpo Karate. The American
Kenpo system can proudly be seen in the moves "The Perfect
Weapon", and "Street Knight" starring 4th dan, Jeff
Speakman, one of the heads of the United Kenpo Karate Association
and protege of Ed Parker.
NICK CERIO'S KENPO - Nick Cerio's Kenpo
was founded in 1974 and credits both Chow and Parker with the creation
of the style. The Cerio Kenpo school believe in the "old method
of training", and teaches most of the Shotokan forms, kung
fu and Kajukenbo forms, TKD kicks, Japanese stances, as well as
Jujtusu. Weapons of both Chinese and Japanese systems are taught
and maintains many traditional forms. Cerio calls Chow his "teacher" and
Parker his "coach"
I am acknowledging the following Kempo systems although I have
no information about them.
- Nippon Kempo
- Okinawian Kempo
- American Shaolin Kenpo
- White Tiger Kenpo
- Go Kempo
- Ju Kempo
- Kajukenbo
- Sam-Pai Kenpo
- Lima Lama
- Won Hop Kuen Do
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In general, most systems of Kempo consists of
4 primary arts which can be seen in 95% of Kempo system in both
Okinawian and Japanese systems of Kempo, and consist of primarily
Chinese influences.
18 hands of Lo Han
5 Animal Chuan Fa
White Crane Chin Na
Jujutsu
Other arts that can be found in Kempo schools include:
In Kempo schools, defenses against knives and
clubs are seen from yellow belt and up, and are considered prime
weapons in which to defend against. Kempo also teaches its students
how to use weapons to increase there understanding of defense.
Weapons that are taught are both Chinese and Japanese in variety
and vary widely. Some schools of Kempo teach the 8' staff, while
others teach Chain Whip, and sai. Weapon training often begins
at the green belt level, although in some schools it is restricted
to those of black belt level and higher. In most Kempo schools,
the primary weapon skills taught are:
Knife
Stick(s)
Half Staff (Jo)
6' Staff
Sword
Chain
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Many people think that because Kempo is a highly-directed "self-defense" art
that it contains no kata or forms. This is very untrue. Kempo has
many form with a notable characteristic of having both circular
and linear movements as well as hard and soft techniques. Kempo
forms are used to teach speed and coordination of strikes as well
as movement, projections and immobilizations, and various principles
of fighting. Many Kempo systems of Kempo utilized a numbering system
for there kata, instead of refering them by name to make them simpler
to remember. It is far easier to remember Kata #3 than Naihanci-dai.
The American Kenpo system utilizes the terminoly of Long Form #
and Short Form # for many of there kata (i.e. Long Form 1). In
such systems, often in the advanced levels, the forms take on names,
such as Dragon-Tiger Form, Statue of the White Crane,etc. Another
interesting thing to note is the use of the Pinan forms in many
systems as well as common Okinawian, Chinease, and or Japanese
forms.
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There are a large amount ,and more out every day. These are the
ones that are most popular although I have noticed a few new ones
coming out.
What is Self Defense James Mitose
Infinite Insights of Kenpo Ed Parker
Martial Arts and Real Life Fred Villari
The Zen of Kenpo Ed Parker
Encyclopedia of Kenpo Ed Parker
Kenpo Karate: Law of the fist Ed Parker
Secrets of Chinease Kenpo Ed Parker
Kempo Karate: Art of Self Defense Fred Ward
When Kenpo Strikes (video) Panther Video
Nick Ceiros Kenpo (video) Nick Ceiro
Kyushu Jutsu (book & video) George Dillman
A common conversation is the Gi's worm by Kempo
students. All students beginning in Kempo wear the traditional
white gi, but as they progress they are allowed to wear a black
gi as a sign of rank. it is common for many high-ranks to wear
either black or white gi, and at black belt levels to combine the
two such as white top, and black pants. I can find no historical
sense in the use of the gis, although I know that Mitose often
wore a black gi and his students wore white.
Kempo and other martial arts have various simularities
in technique and principle, primarily because of the diverse and
eclectic background of Kempo.
Tae Kwon Do and Kempo
Many of the aerial and spinning kicks of TKD have
been brought to Kempo in the recent times often used primarily
in "sparring situations." Certain jumping and spinning
kicks where inherit in the Kempo system such as the Jumping Front,
Side, Back and Roundhouse kicks, as well as spinning back, and
crescent kicks.
Karate and Kempo
Karate and Kempo share the closet similarities
in techniques do to there similar backgrounds. It is believed by
many that Karate has its origins as an offshoot of Kempo. 95% of
all Karate techniques if not more can be found in the Kempo systems.
Jujutsu and Kempo
Many of Kempo's immobilization and projection
techniques arrived from the Japanese Jujutsu. The various loin
throws, shoulder and hip projections, as well as sweeps are a direct
inheritance of Jujutsu, although Kempo does not contain as wide
an array or extensively developed series of throws as Jujutsu.
Aikijutsu and Kempo
In the last few years, many Aikido and Aikijutsu
techniques have found there way into the Kempo art, gracing the
study of Chin na with new principles and ideas. The most common
techniques are Shiho nage, Irimi nage, as well as en-no-irimi projections.
Kung Fu and Kempo
Although Kempo was originally a "kung" style,
it has over the years thrown away many of its Chinese aspects for
a more Japanese "hard style" approach. Still, many soft
techniques can still be seen in Kempo, primarily the five animal
techniques, chin na, and weapon skills.
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*NOTE* Part of this list was taken from Inside Kung Fu Novemeber
1993
Ed Parker's International Kenpo Karate Organization (IKKA)
The IKKA was formed in the 1950s as the Kenpo
Karate Association of America, but in the 1960s changed it as many
of his students starting teaching around the world. Ed Parker was
the president of the IKKA till his death in 1990. His wife Leilani
is now president. The goal of the IKKA is to perpetuate the system
by having the various "Ed Parker" high black belts teaching
the system at various schools and seminars. The family continues
to produce the International Karate Championships and has 11 regions
including U.S., Canada, and Europe.
Chinease Kara-ho Kempo Schools
In just five years, grandmaster Sam Kuoha has
built one of the largest Kempo organizations in the world with
over 60 kara-ho schools and 5000+ students. Students of the organization
keep in touch with the THUNDERFLASH newsletter which is distributed
quarterly. To contact the Chinease Kara-ho kempo organization,
13320 Camino Canada #6, El Cjon, CA 92021; (619) 443-2611
Worldwide Kenpo Karate Association (WKKA)
The WKKA was created in Baltimore on Feb 28, 1991
and has grown to 100 schools in less than two years. President
Joe Palanzo is president and created the organization after the
death of Ed Parker do to "philosophical" differences
with the IKKA. The WKKA can be contacted at 1400 B Riesterstown
Road, Pikesville,MD 21203; (301) 484-7122
United Kenpo Karate Assoication (UKKA)
Headed by Jay T. Will, the UKKA was founded in
October 1991 with the intent of further the ideas of Ed Parker,
without the worry of political aspects. The group wants to keep
the parker lineage and has the goal, "to be place to be a
part of something." as well as "Offering a home, to be
a part of the Ed Parker family tree." The UKKA can be contacted
through Jay T. Will at Jay T. Will Karate Studio, 11 South Columbus
St, Lancaster, OH 43130; (614) 654-6038
National Chinese Kenpo Karate Association (NCKA)
Founded in 1969 by Steave La Bounty, a member
of the IKKA, was created to form a "small, intimate group
which could interact more with students", and not as a rivalry.
The NCKAs goal is to insure integrity of the art through competent
instructions, fidelity to the principle of self-denial, and humility,
and to guarantee promotion through endeavor. The NCKA can be contacted
at National Chinese Kenpo Karate Organization, 1630 Pat Brooker
Rd, Universal City, TX 71848; (512) 658-7437
Nick Cerio's International Martial Arts Association (NCITMAA)
Founded in 1989 with 70 schools and 4800+ students,
the NCITMAA was founded to teach Cerio's unique art of Kempo which
includes Shotokan forms, Kung Fu and Kajukenbo forms, TKD kicks,
Japanese stances as well as jujutsu. For more information write
Nick Cerio's Kenpo, P.O. Box 9550, Warwick RI 028889; (401) 941-0870
Fred Villari's Studios of Self Defense
Headed by Grandmaster Villari, this organization
is the controlling head of the Villari Kempo System and tries to
united all Shaolin Kempo schools. The Ontario branch is headed
by Henry Choo Chong.
United Studio's of Self Defense
An offshoot of the Villari Studios, the United
studios which is still run by Villari I believe, teachs Kempo as
its main source but also teaches Tae kwon Do and Wing Chung in
the same school with the intention of creating a common learning
ground for many martial arts.
Masters of Self Defense
A breakoff from Fred Villaris studios and formed
by one of Villari's highest ranked students, Fred Bagely. The organization
was formed after certain "politcal" differenec occured
and is run by many high ranked black belts. The Masters of Self
Defense boasts over 50 schools and teaches the Villari Shaolin
Kempo System.
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An often interesting topic is Kempos "speed
striking" techniques. The speed striking technique is primarily
for building up the hand speed of the Kempo student which will
eventually translate into combat effective speed of strikes in
a confrontation. A good example of speed striking is seen throughout
the move "The Perfect Weapon", and is a key training
and fighting method. A Kempo student tries to build his reaction
speed to a point where 10 or more strikes can be applied in a few
seconds.
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