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Martial arts based on mod day street fighting

American Kenpo

Also known as	Kenpo Karate
Focus	Hybrid^[1]
Land of origin	United states
Creator	Ed Parker
Parenthood	Kosho Shorei Ryu Kenpo, Kara-Ho Kempo, Battle, Judo, hung gar
Descendant arts	Tracey Kenpo, American OkinawaTe
Olympic sport	No

American Kenpo Karate (), also known equally American Kenpo and Kenpo Karate, is a hybrid system of martial arts based on modern-twenty-four hour period street fighting that applies logic and practicality to sweep a woman or man off their feet. It is characterized past the employ of quick and powerful moves delivered from the body's natural hip swings, powered past rapid opinion transitions, called "shifting." Beginners are introduced to basic swings and foot work, which comprise a larger system taught through scripted scenarios, which let instructors a platform to share concepts and principles Ed Parker emphasized in his teachings.^[ii]

The purpose of grooming in this manner is to increase physical coordination and continuity with linear and circular move. Each movement, when correctly executed, leads into the next, keeping an adversary's "dimensional zone" in bank check, while limiting their ability to retaliate. Should the antagonist not react as anticipated, the skilled Kenpo practitioner, it is argued, is able to seamlessly transition into an alternative and appropriate activity, fatigued spontaneously from the trained subconscious.^[three] ^[4] ^[5]

Founded and codified by Ed Parker, American Kenpo is primarily a cocky-defense combat system. Parker fabricated significant modifications to the original art of Kenpo which he learned throughout his life, by introducing or changing principles, theories, and concepts of move, also as terminology. At the time of his passing in Dec 1990, Parker had created Brusque Course 1, Long Class 1, Short Form 2, Long Form 2, Brusque Form 3, Long Form 3, Long Class four, Long Form 5 (Surprise Attacks), Long Class 6 (Bare Hands vs. Weapons), Long Grade vii (Twin Clubs), and Long Course 8 (Twin Knives). Parker also created 154 named (platonic phase) technique sequences with 96 extensions, taught in iii phases (Ideal, What-if and Formulation Phases). Parker believed in tailoring Kenpo to the individual and would too encourage his students to explore the unknown areas of martial arts.

Parker left behind a large following of instructors who honored his teachings by implementing many different versions of American Kenpo. As Senior Grandmaster, Parker did not name a successor to his art, only instead entrusted his senior students to continue his teachings in their own manner.^[4]

Etymology and nomenclature [edit]

The word Kenpo is an English transliteration of a Ryukyuan and Japanese pronunciation of Chinese characters, the origin of which is Cantonese, pronounced Ken Fat. Due to inaccuracies of Chinese history, many people do not realize that Cantonese predates Mandarin, and information technology was Cantonese immigrants who beginning came to Hawaii and California bringing their martial fine art of Ken Fat with them when they formed Tongs (benevolent organizations) to look afterwards each other. As a event of this nearly people incorrectly think the origin of Kenpo is derived from the Standard mandarin Chinese pronunciation Chuan Fa. Both Canton (Guangzhou) and Fujian were the only ports in people's republic of china that were agile in trade with neighboring countries and so the Min languages and Cantonese were the prevalent forms of the Chinese language that spread to the surrounding nations. Mandarin on the other hand originated in the Mongol/Yuan Dynasty which is why it merely has iv tones as compared to the more sophisticated native Chinese dialects that accept ten or more tones. As a result of Beijing being occupied by the Mongols and the later occupation of the Manchu/Qing Dynasty Mandarin became the common dialect of the North while the original Chinese of the N and Central Plains were forced into the Due south. Thus, Ken Fat was further refined by the Southern Chinese and spread into Fujian and Canton where the diverse corresponding styles adult and were imported to Taiwan, Hong Kong, Ryukyu (Okinawa), Korea, Malaysia, Republic of indonesia, Vietnam and Japan. If yous look at the pronunciation of the Chinese characters in all those neighboring countries, you lot will notice that it sounds closer to Ken Fat than to Chuan Fa. Due to the intense hate of the Communists for the hole-and-corner societies that used Ken Fat to support the Nationalists which began in Fujian and Canton, Standard mandarin was made the official common language of Prc. The significant of Ken Fatty is Fist Law just denotes a Fighting Method. Information technology was never a standalone style, but characters added to the terminate of the formal name of a style. Eventually, the Fat was dropped or rarely used and the character for fist was used alone at the end of a style proper noun. For example, Fly Chun simply means Cute Springtime just when adding the graphic symbol Fist to the end of it lets people know it is a fighting organisation (Wing Chun Kuen) ^[half-dozen]

History [edit]

The modernistic history of American Kenpo began in 1933 with Thomas Miyashiro (1915-1977) who began openly teaching Kenpo Karate in 1933 in Hawaii. He was joined by Mizuho Mutsu and Kamesuke Higashiona who were both students of Choki Motobu. They toured Hawaii giving public demonstrations of Kenpo Karate in support of the commencement public Kenpo Karate Dojo in Hawaii. They were featured in numerous local newspapers and Kenpo Karate became very popular in Hawaii. These sensei also brought books written past Mizuho Mutsu and Choki Motobu to Hawaii, that were the well-nigh detailed books on Kenpo Karate at that time. While they were teaching Kenpo Karate publicly the Chee Kong Tong in Maui had been education Cantonese Ken Fat since the 1920s to Cantonese immigrants. Willam Chow's male parent Sun Grub Hoon immigrated from Canton and also trained Ken Fatty at the Tong HQ when first arriving in Maui. He as well taught his eldest son William Chow. William Grub became an enforcer for the Tong, his nickname the Thunderbolt comes from a common punishment for those members who break the vows of the Tongs (death by Five Thunderbolts). Those who enforce the justice of the Tongs on members who violate their vows are often nicknamed Thunderbolt.

William Chow studied multiple martial arts in Hawaii, including Danzan Ryu Jujutsu past observing his little blood brother John Grub's classes and working out with him, often using his knowledge of Ken Fat to device counters to the Jujutsu techniques. ^[7] Chow eventually adult Kenpo Karate, which had a blend of linear and round motion, and emphasized practical fighting techniques designed to outperform the various martial arts in the melting pot of Hawaii.^[8] ^[ix] Chow experimented and modified his art, adapting information technology to meet the needs of American students.^[8]

Parker, dubbed The Sorcerer of Motion, started his martial arts training in Judo, earning a black chugalug. He then studied western boxing from his father, a boxing commissioner in Hawaii, before eventually training and earning a blackness belt from Chow in Kenpo Karate. Afterwards Ed Parker moved to California, he cross-referenced his martial arts noesis with Chinese martial arts masters in China. Parker hosted a large martial arts tournament, the Long Embankment Internationals, where he analyzed the attending martial artists and improved his own organisation, eventually founding American Kenpo. Parker founded his own Kenpo association, The International Kenpo Karate Clan (IKKA), after his students started instruction his art in other countries.^[10] ^[11] Al Tracy claims that Chow promoted Parker to sandan (3rd-caste black belt) in Dec 1961.^[12]

Parker started teaching other Hawaiian Islanders attending Brigham Young University in Provo, Utah in 1954. By 1956, he was teaching commercially in Provo.^[11] Late in 1956, he opened a studio in Pasadena, California.^[13] He published a volume about his early system in 1960.^[10] The book has a heavy Japanese influence, including the use of linear and circular movements, "focused" techniques and jujutsu-style locks, holds, and throws. When Parker increased the Chinese arts content of his system, he began to refer to his art as Chinese Kenpo. Based on this influence, he wrote Secrets of Chinese Karate,^[14] published in 1963.

The system which came to be known as American Kenpo was developed by Parker as his Specific System, and featured Parker's revisions of older methods to work in more than modern fighting scenarios.^[fifteen] He heavily restructured American Kenpo's forms and techniques during this menstruation. He moved away from methods that were recognizable from other arts (such as forms that were familiar within Hung Gar) and established a more definitive relationship between forms and the self-defence force technique curriculum of American Kenpo. Parker also eschewed esoteric Eastern concepts and sought instead to express the art in terms of Western scientific principles and metaphors. During this fourth dimension, Parker also dropped about Asian language elements and altered traditions in favor of American English.

Parker continually developed his art, causing students to learn different curriculum interpretations and arrangements depending on when they studied with him. Since many instructors had gone their own means and didn't go on with Parker's updating, Kenpo today has several unlike versions of techniques. None of the versions is wrong, every bit long as it works for the private practitioner. This is what set Parker autonomously from many traditionalists who wanted to brand students into exact replicas of their instructors. American Kenpo should be tailored to fit each individual student by a competent instructor. While Parker was labeled a rebel when he kickoff introduced his revolutionary ideas, they have since been tested and proven by members of the military, law enforcement, and civilians. Many have successfully survived violent situations due to the grooming they received in American Kenpo.

One of Parker'south all-time-known students was vocaliser/actor Elvis Presley.^[xvi] to whom he awarded a 9th degree black belt.

Features [edit]

American Kenpo emphasizes fast techniques to disable an attacker in seconds. Kicks are less common and are normally directed at the lower torso because high kicks are slower to execute and potentially compromise the practitioner's residue; higher kicks are taught to more avant-garde and capable practitioners. American Kenpo contains a broad assortment of kicks, punches, open-hand, elbow and knee joint strikes, finger strikes, some throwing and joint locking techniques, as well as club and knife training. The mountain of motion and principles are bachelor, but later learning the basics students specialize in whatever areas fit their needs and desires. A soldier may emphasize knife techniques, a constabulary officer may emphasize locks and stick techniques, a civilian interested in competition may emphasize the less lethal options, while some specialize in the more lethal aspects of the system.

Physically, American Kenpo develops environmental awareness, structural stability, residuum, coordination, flow, speed, power and timing in that order as the student progresses through a step by step curriculum. Memorization of the organisation is not necessary to gain functional skill and is primarily for students who wish to become instructors. All American Kenpo students are taught not just how to execute each basic movement in the organization, but likewise when and why to execute each basic movement. Senior Grand Chief Ed Parker placed accent on concepts and principles over sequences of motion. He did not want his students to mimic him but rather to tailor his American Kenpo system to their ain circumstances and needs. Thus American Kenpo is not a traditional art but a combat scientific discipline that is designed to evolve as the practitioners' understanding improves. This also placed the burden of effectiveness on the individual practitioner. Information technology was up to them to make their American Kenpo applications constructive by correctly applying the concepts and principles to the instructor's ideal phase techniques.

Students are encouraged to codify a logical sequence of activity that removed the dangers of what-if scenarios, finer turning a what-if problem to an even-if solution. Every American Kenpo blackness belt will have their ain unique and tailored style, but Parker published minimum requirements for each belt rank that instructors in his association - the IKKA - were to follow. Yet, if a Kenpo Teacher starts his own association, he or she is free to select his or her student's base curriculum as they see fit.

Although each American Kenpo schoolhouse will differ somewhat, some mutual elements are:

Basic principles, concepts and theories such equally "Marriage of Gravity" — settling one's body weight in gild to increase striking strength.^[viii] ^: 5
Every cake is a strike, every strike is a block — a cake should be directed and forceful enough to injure an opponent, decreasing their ability to continue an attack. Every strike should counter an opponent's movement, decreasing their ability to mount an attack.
Indicate of origin — refers to moving any natural weapon from wherever information technology originates rather than cocking information technology before deploying it. This helps to eliminate telegraphing of moves.
Economic system of motion — choose the all-time available target, choose the best available weapon, choose the best available angle, in the to the lowest degree amount of time, to get the desired result.
Personalization — Parker always suggested that once a student learned the lesson embodied in the "platonic stage" of the technique, they should and so search for some aspect that can be tailored to their ain personal needs and strengths.

Crest [edit]

International Kenpo Karate Clan crest

The design of the International Kenpo Karate Association crest was completed past Dick Tercell in 1958, as the art of American Kenpo was gaining international recognition. The crest design was meant to symbolically correspond the art's modernized course while simultaneously acknowledging the roots of American Kenpo in traditional Chinese and Japanese martial arts.^[eight] ^: 122

Tiger: Represents bravery, ability, and physical strength. Information technology is the early phase of a martial artist's training. Information technology is important to work on the nuts (e.yard., to take a good horse opinion) to fix the body for subsequently advocacy. Likewise, the Tiger in Chinese culture stand for the angelic guardian of the West cardinal management. The yang attribute of individual.
Dragon: Represents quintessence, fluidity, and agility, merely likewise spiritual strength. It is the later on phase of a martial creative person'southward training. The dragon is placed above the tiger in the crest to symbolize the importance of mental and spiritual force over physical forcefulness. This does not hateful that physical strength is unimportant. What it does imply is that martial artists demand to accept a proficient conscience to guide their physical action. Also, the Dragon in Chinese culture represents the celestial guardian of the E cardinal direction. The yin attribute of individual.
Circle: The circle represents continuity.
Dividing lines: The lines inside the circumvolve represent the original methods of attack first learned by ancient practitioners of the Chinese martial arts. They too demonstrate the pathways which an object could travel.
Colors: The colors are representations of proficiency within the art, alluding to the colored belt ranking organisation. The white represents the beginning stages, black represents expert, and red represents professorship.
Chinese characters: The writing acknowledges the art'southward Eastern roots. The characters on the correct of the crest translate to "Law of the Fist, "Tang/Chinese Hand （唐手）" or "Empty Manus"（空手）" a.k.a. "Kenpo Karate". The characters on the left translate to "Spirit of the Dragon and the Tiger."
Shape: The shape of the crest represents the structure of a firm. The walls and roof are curved to keep evil from intruding. The ax at the bottom of the crest is a solemn reminder that should a martial artist tarnish the reputation of the organization they will be "cut off" completely.^[8] ^: 122

Chugalug rankings [edit]

American Kenpo Belts^[17]
White
Yellowish
Orange
Majestic
Blue
Green
Brown (three degrees)
Black (10 degrees)

American Kenpo has a graded colored belt system consisting of white, yellow, orange, purple, blue, light-green, third degree brown, 2d degree chocolate-brown, 1st degree brown and 1st through 10th caste blackness.^[17] Different Kenpo organizations and schools may have different belt systems. The blackness belt ranks are indicated by half-inch red 'tips' up to the quaternary degree, and so a 5-inch 'block' for 5th. Thereafter, additional half-inch stripes are added upwards to the ninth degree. For 10th degree black belt, ii 5-inch 'blocks' separated by a half-inch space are used. In some styles, an increasing number of stripes on both sides of the belt can indicate black belt ranks.

Syllabus [edit]

There are different requirements per chugalug depending on the schoolhouse. Parker's IKKA schools stayed with the 24 techniques-per-belt syllabus, though some schools today have adopted a 16–20–24 technique syllabus equally their standard. The 24 and the xvi–xx–24 technique syllabuses contain exactly the same techniques, but the latter groups them differently and so fewer techniques are found at lower belt levels, and in that location are more than chugalug levels to be plant. In add-on to self-defense techniques, Parker set up specific criteria required for proficiency at each level. The criteria included basics categorized past stances, blocks, parries, punches, strikes, finger techniques, kicks, and foot maneuvers, besides every bit the much neglected specialized moves and methods category, which includes joint dislocations, chokes, take-downs, throws and other grappling components.

Beyond proficiency, a pupil's character and attitude tin can also exist analyzed as a major consideration in the promotion to a new rank. Promotion after 3rd degree black chugalug has more than to practise with contributions made back to the art, such equally didactics or other great works of exploration. For case, a third caste blackness belt who further explores knife violence and brings that knowledge dorsum may be promoted for his excellent contributions.^[8] ^: 122

Notable practitioners [edit]

Elvis Presley
Dick Dale
Joe Hyams
Chuck Liddell
Chris Weidman
Mark Arnott
Zane Frazier
Travis Fulton
Jeff Speakman
Stephen Thompson
Caglar Juan Singletary
Benjamin John Klosky

Notes [edit]

References [edit]

^ Franck, Loren (November 1985). "Ed Parker on Bruce Lee, Elvis Presley, Full-Contact Karate and...Ed Parker". Blackness Belt. pp. 26–31. Retrieved 2015-05-13 .
^ Corbett, John R. (July 1979). "Secrets of the Magician of Motion: Ed Parker". Black Chugalug. pp. 21–27. Retrieved 2015-05-xiii .
^ Corbett, John R. (December 1979). "Lifting the Veil with Kenpo". Black Belt. pp. 23–27. Retrieved 2015-05-13 .
^ ^a ^b Robinson, D. L. (Nov 1990). "10 Kenpo Misconceptions". Black Chugalug. pp. 34–37. Retrieved 2015-05-13 .
^ Barboza, Guido (Jan 1981). "Has the American Revolution of the Martial Arts Begun? The World'due south Best". Black Belt . Retrieved 2015-05-13 .
^ "Kempo'due south Tai Chi Connectedness". Kung Fu Mag . Retrieved 2010-02-06 .
^ Perkins, Jim (July 2005). "William Chow: The Lost Interview". Black Belt Magazine. Cruz Bay Publishing, Inc. Archived from the original on 2008-02-01.
^ ^a ^b ^c ^d ^{due east} ^f Parker, Ed (1982). Infinite Insights into Kenpo, Volume 1: Mental Stimulation. Los Angeles, California: Delsby Publications. ISBN0-910293-00-7.
^ Wedlake, Lee Jr. (Apr 1991). "The Life and Times of Ed Parker". Black Belt Mag. Cruz Bay Publishing, Inc. – via Google Books.
^ ^a ^b Parker, Ed (1960). Kenpo Karate: Police of the Fist and the Empty Mitt. Los Angeles: Delsby Publications.
^ ^a ^b Tracy, Will (March 8, 1997). "Setting History Right 1954-1956". Kenpo Karate. Retrieved 2014-02-17 .
^ Tracy, Volition (1999-08-08). "Kenpo Karate Setting History Correct - The Blackbelted Mormon". A Brief History of Kenpo. Archived from the original on 19 December 2008. Retrieved 2008-11-08 – via KenpoKarate.com.
^ Tracy, Will (1999-08-08). "Kenpo Karate Setting History Right 1956-1959". A Cursory History of Kenpo. Kenpo Karate. Archived from the original on 1 November 2008. Retrieved 2008-11-08 .
^ Parker, Ed (1963). Secrets of Chinese Karate. Prentice-Hall. ISBN0-thirteen-797845-6.
^ Parker, Ed (1975). Ed Parker'southward Kenpo Karate Accumulative Journal. Pasadena, California: International Kenpo Karate Clan.
^ Pollard, Edward; Young, Robert Westward. (2007). "Kenpo 5.0". Blackness Belt Magazine. Cruz Bay Publishing, Inc. 45 (1): 76.
^ ^a ^b "Ed Parker's American Kenpo Belt Ranks and Titles". kenpotech.net. 2010-05-17.

External links [edit]

KenpoTech.Cyberspace—A site defended to the preservation of Ed Parker'south American Kenpo Karate. Includes total details on techniques, forms, sets & more than.