# What kind of kenpo?



## Nightingale

there are lots of different kinds of kenpo out there... which one is yours?


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## Michael Billings

I did Chinese Kenpo first.

-MB


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## shotmanuk

Tatakai Jikoboei Do Kenpo

                " The Way of Combat Self Defence "


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## LadyDragon

EPAK


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## Kempojujutsu

Okinawa Kempo Jujutsu
Bob:asian:


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## M F

I chose Parker Kenpo because that is what I've done for the last several years.  But I did get my Kenpo start in Kajukenbo.


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## durangokenpo

I do tracys but got my start in American Kenpo


TS


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## jfarnsworth

Parkers.
:asian:


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## Kroy

> _Originally posted by durangokenpo _
> *I do tracys but got my start in American Kenpo
> 
> 
> TS *



I'm the opposite, I started in Tracy Kenpo but slowly moved into EPAK. It was more for me.


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## RCastillo

Tracys all the way.:asian:


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## Randy Strausbaugh

My instructor always referred to it as Chinese Kenpo, but it falls within the Tracy's camp (even though I'm not part of the Tracy's organization).


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## RCastillo

> _Originally posted by Randy Strausbaugh _
> *My instructor always referred to it as Chinese Kenpo, but it falls within the Tracy's camp (even though I'm not part of the Tracy's organization). *



Well, what are you waitin' for Mister!


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## unidos

Kenpo Jutsu. Just started couple of weeks ago. Pretty interesting.


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## don bohrer

We're the old TRA-CO system. Not Tracy and not EPAK.


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## Doc

The poll is somewhat misleading by listing SL-4 separately (even though I appreciate the effort to make a disitinction). If you talk to any of my students, they will all tell you they study EPAK, and only make a distinction when comparisons are necessary to explain differences in interpretations. Nevertheless, it is EPAK as explained and taught to me by Ed Parker. I understand in this medium it is necessary for the purposes of the poll, but those who actually study rarely ever read or post on any forum.

Thanks for the recognition.


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## Zoran

Saviano's White Tiger Kenpo. 
Parker/McSweeney lineage.


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## Michael Billings

For those who have not been around a coon's age, they may not know the difference.  I have students from both systems in my school right now.  The techniques are from the 60's version - 

Inward Defense not Delayed Sword
Outward Defense not Sword of Destruction

Dance of Death is the same, Five Swords is the same, higher level techniques are closer to 1990 EPAC.

Evading the Samurai instead of Glancing Lance
or
Stretching the Bow not Glancing Spear.

People will not know the difference unless it is explained to them.  This is not one of the "history" questions usually asked or answered here, and probably worthy of starting a new thread.

-MB


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## Nightingale

> _Originally posted by Doc _
> *The poll is somewhat misleading by listing SL-4 separately (even though I appreciate the effort to make a disitinction). If you talk to any of my students, they will all tell you they study EPAK, and only make a distinction when comparisons are necessary to explain differences in interpretations. Nevertheless, it is EPAK as explained and taught to me by Ed Parker. I understand in this medium it is necessary for the purposes of the poll, but those who actually study rarely ever read or post on any forum.
> 
> Thanks for the recognition. *



I don't know anything about SL 4...

curious question...

if your students walked into a different kenpo school, perhaps for a seminar or something, would their techniques be recognizable to other EPAK martial artists?  How different is SL4 curriculum from standard EPAK?


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## Doc

> _Originally posted by Nightingale _
> *I don't know anything about SL 4...
> 
> curious question...
> 
> if your students walked into a different kenpo school, perhaps for a seminar or something, would their techniques be recognizable to other EPAK martial artists?  *


Yes. However dispersed throughout the curriculum, there are about 16 techniques whose names they would not recognized that address issues the conceptual kenpo does not.


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## Nightingale

such as?

:asian:

-N-


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## Doc

> _Originally posted by Nightingale _
> *such as?
> 
> :asian:
> 
> -N- *



Rifle, shotguns assaults. Forward and backward slashing blades, semi-auto handguns held "street style" high and sideways, pinned against the wall with the tip of a knife pushed underneath your chin or the edge pushed against your throat putting you on your toes, laying on your back pinned to the floor, etc.


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## Nightingale

cool!


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## jfarnsworth

> _Originally posted by Doc _
> *... pinned against the wall with the tip of a knife pushed underneath your chin or the edge pushed against your throat putting you on your toes, laying on your back pinned to the floor, etc. *



I would definately be interested in this.:asian:


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## don bohrer

> For those who have not been around a coon's age, they may not know the difference. I have students from both systems in my school right now. The techniques are from the 60's version -



MB,
Off hand what are the differences you've noticed between the systems? I know from what you said the some techs are different. Do you have any more early history of TRA-CO and how it came to be? 

I didn't recognised these:

Evading the Samurai or Stretching the Bow.


don


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## Kroy

The Tracys site has some info on TRA CO, not good info if you belong to it. Me, I dont know... I just read it?


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## RCastillo

> _Originally posted by Michael Billings _
> *For those who have not been around a coon's age, they may not know the difference.  I have students from both systems in my school right now.  The techniques are from the 60's version -
> 
> Inward Defense not Delayed Sword
> Outward Defense not Sword of Destruction
> 
> Dance of Death is the same, Five Swords is the same, higher level techniques are closer to 1990 EPAC.
> 
> Evading the Samurai instead of Glancing Lance
> or
> Stretching the Bow not Glancing Spear.
> 
> People will not know the difference unless it is explained to them.  This is not one of the "history" questions usually asked or answered here, and probably worthy of starting a new thread.
> 
> -MB *



Quit invading my territory, Austin-ite!


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## Michael Billings

I was doing those techniques from 79  - 86 or so, I can't just forget (lord knows I tried).

Peace,
-MB


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## don bohrer

Well now that you two have fessed up to knowing TRA-CO any chance you guys would talk about it? Good or Bad! 


don


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## Michael Billings

I am not an expert, but am starting a new thread to learn more.  See Kenpo/Kempo - General > TraCo/Tracy/EPAK - The Sam Ting? 

See here:

*Traco/Tracy/EPAK - Sam Ting? *

-MB


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## kroh

I grew up doing Shorinji Kempo.  Now I Belong to the Shinko Ryu which is not a new system, just an offshoot from another organization we no longer belong to.  REcently, my instructor has been taking courses in Parker system.  Although my instructor does not plan on teaching it... we have been "test subjects"  for some of the techniques.  

Here is a Question... Did Parker train in any system of Flilipino Arnis?  The movements to many of the techniques we are victims... uh ..... ... helping with, are identical in flavor to many of the tactics we learn in Filipino arnis.  Just wondering.

Thanks for the minute...
WalT:asian:


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## TIGER DRAGON FIGHT

shaolin chuan fa = UNITED STUDIOS OF SELF DEFENSE under PROFESSOR CHARLES MATTERA on the west coast in california.:jedi1:


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## Touch Of Death

Doc said:
			
		

> The poll is somewhat misleading by listing SL-4 separately (even though I appreciate the effort to make a disitinction). If you talk to any of my students, they will all tell you they study EPAK, and only make a distinction when comparisons are necessary to explain differences in interpretations. Nevertheless, it is EPAK as explained and taught to me by Ed Parker. I understand in this medium it is necessary for the purposes of the poll, but those who actually study rarely ever read or post on any forum.
> 
> Thanks for the recognition.


I'm in EPAK but the lessons taught don't resemble EPAK.
Sean


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## Gary Crawford

I learned at a small school in San Jose,Ca called Mora Bros.They were taught by Al Tracy


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## Shogun

One of my teachers is 4th dan TJD Kempo, so I get some of it from him.


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## OC Kid

I was orginally ranked in a Japanese system. But shortly after recieveing my rank I moved out of state. I started training in EPAK and Tracys. They had the best fighters around and I was really into fighting at the time. I also attended their group classes and learned the basics and some basic forms and self defense. I now teach a mixure of the 3, Japanese forms stance blocks ect, a sort of free style self defense based on Hawaiian kempo/EPAK and fighting based on both kempo systems and Muay Thai.. So I dont know what you'd call the system????? But I like it. it works.


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## Shogun

> So I dont know what you'd call the system????? But I like it. it works.


and those two things are all that matters......something can work, but you might hate it, or it isnt effective one bit, and you love it. but the both of them together.....grand!


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## XkempoX

Shaolin Kempo from an independent school. Did Shorinji prior.


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## Mark Weiser

Five Animal Kenpo under Trevor Haines and Jun Bao Wu Shu under James Ibrao.


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## guito

AMERICAN KENPO , LTKKA IN PUERTO RICO.:supcool: HARD HITTING KENPO


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## senseishane

Kara-Ho Kempo Karate - Billings/Laurel - MT. since 1989.  Love the art and love the philosophy.

Just my .02
senseishane


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## KempoShaun

Tenchi Bujutsu, a fun blend of Ch'uan Fa, Karazenpo Go-Shinjutsu, Kempo-Jutsu Kai, Wado-Ryu and 5 Animal Kung Fu  :supcool:


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## Mekosho

Kosho Ryu Kempo here...


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## iTsDaNNy

Ed Parkers American Kenpo


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## Gabrielbkfstudent

BKF Shorindo kenpo under Aristo Avila in NorthHollywood


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## Shurikan

I started out in Tracy's Kenpo among some other styles then we crossed over to Parkers in about 1984 give or take a year. In 1988 i made my last switch to Chinese Kara-Ho Kempo/Kenpo Karate and have been there ever since.


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## Shodan

Ed Parker's Kenpo- an 18 year continuing journey!!

  :asian:  :karate:


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## Gin-Gin

EPAK...a 6-yr continuing journey!!!


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## Mekugi

Tenshin Koryu Kempo.


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## Tripitaka of AA

XkempoX and Kroh have both mentioned "Shorinji Kempo"... but I wonder if they mean the same "Shorinji Kempo" as me!

Shorinji Kempo and Shorinjikempo are registered trade marks around the word for the art founded by Doshin So in Tadotsu, Japan. It is administered by the World Shorinji Kempo Organisation in Japan and does not share any lineage with the happy famiies of "American" Kempo/kenpo. It is a competely separate art and I would not normally think to include it in a thread on this sub-forum.

I gather that some schools have been using the phrase "Shorinji Kempo" as the Japanese transation of "Shaolin-su Ch'uan-fa" (quite so) and as the school/style name. The copyright issues mentioned above are important to remember.


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## rmcrobertson

Dear Three Baskets:

OK, that was weird. But...SHORINJI KEMPO! SHORINJI KENPO!!

Sincerely,
Pigsy


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## Brother John

American Kenpo Karate, as taught in the AKKI....
The Paul Mills Group!!!!
artyon: 


Your Brother
John


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## GAB

Mr. David Noble,

I have read much of your work, it is an honor that you have stopped by and laid some history on us. 

Robert, thanks for the insight.

Regards, 
Gary A. Brewer


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## kelly keltner

Kosho Ryu under Bruce Juchnik.


kelly


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## KenpoNoChikara

EPAK all the way for me


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## ryangrantcollins

Chinese Kenpo Karate as taught by the IKCA

Ryan Collins


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## XkempoX

Tripitaka of AA said:
			
		

> XkempoX and Kroh have both mentioned "Shorinji Kempo"... but I wonder if they mean the same "Shorinji Kempo" as me!
> 
> Shorinji Kempo and Shorinjikempo are registered trade marks around the word for the art founded by Doshin So in Tadotsu, Japan. It is administered by the World Shorinji Kempo Organisation in Japan and does not share any lineage with the happy famiies of "American" Kempo/kenpo. It is a competely separate art and I would not normally think to include it in a thread on this sub-forum.
> 
> I gather that some schools have been using the phrase "Shorinji Kempo" as the Japanese transation of "Shaolin-su Ch'uan-fa" (quite so) and as the school/style name. The copyright issues mentioned above are important to remember.


At the time when I was studying it in the late 80's, my ex-sensei had told me that the art I was studying derived from Shorinji Kempo and later called his system "Shorinji Aiki Jujitsu". Sorry if I retained the name Shorinji Kempo in regards to trademark issue, and I will change it accordingly. 
	

	
	
		
		

		
			





http://www.miyake-shukokai.com/Jujitsu.htm


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## parkerkarate

Ed Parker kenpo all the way, 8 years and still going


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## 8253

Chinese Kenpo.


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## gmkuoha

Chinese Kara-Ho Kempo Karate under the famed Professor William Chow of Hawaii. A short 54 year journey and still having much more to learn and so I do each day. Also hold 3 other ranks in other arts, starting from white with these others and worked my way up. A neverending life of knowledge.
Grandmaster Kuoha


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## Tripitaka of AA

XkempoX said:
			
		

> At the time when I was studying it in the late 80's, my ex-sensei had told me that the art I was studying derived from Shorinji Kempo and later called his system "Shorinji Aiki Jujitsu". http://www.miyake-shukokai.com/Jujitsu.htm



 "Kempo Aiki Jujitsu" or "Shorinji Aiki Jujitsu", depending on whether you're looking at the top of the page, or the body of the text, on that page you linked to .

I sent him an Email a while back asking about his history, but it must have gone astray, as he never replied. The Branch Master of the Shukokai club in Glasgow took some time out to respond, but he was unable to help me with the "Shorinji Kempo" aspect of Miyake Sensei's background.


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## Mark L

Tripitaka of AA said:
			
		

> ... Shorinjikempo are registered trade marks around the word for the art founded by Doshin So in Tadotsu, Japan.



This means the _name_ is protected, right?  Maybe this should be a separate thread (mods. discretion), I'm curious about what if any protection of the core material of a style is offered by the law.  I was accosted via PM a while back because I admitted to learning and practicing a series of forms from a kempo style that apparently wishes to keep their stuff close.  The thrust was my teacher was violating a copywrite and could be subject to a suit.

It seems that knowledge gained over the course of one's MA career, from whatever divergent sources, forms the unique style each of us embodies.  Do you think we are, or should be, free to perpetuate the material to which we've been exposed?


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## BlackCatBonz

kosho-ryu under SKSKI

shawn


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## Spin

American Kenpo w/ AKKI!!


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## nahkohewalker

Epak


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## getgoin

I started with TAI Kenpo fom David German system. I studied some EPAK for a short time and then started to study directly under Prof. Roger Callejo. He doesn't use the term kenpo though, he calls it martial arts. He uses no asian names or terms in his system. He was awarded his 9th Degree Black by GM Thomas Young, which I'm sure that most of you know studied under Mitose himself was was the one to sign GM Chow BB certificate.


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## Thunderbolt

AK all the way


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## scfgabe

I am just beginning to study American Kenpo as taught by Paul Mill's AKKI trainers.


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## Kembudo-Kai Kempoka

At one time, I understand it was called kosho shorei shorinji kempo-jujutsu. Went through multiple changes, to include being called Chinese kenpo and Hawaiian kenpo; I personally stayed the longest with a CK defector who added judo and TKD to his kenpo prior to moving to Japan to study "Chinese Kempo" with a Japanese Grandmaster, then pulled it together under the moniker "Universal Chinese Kenpo-Jujutsu". I just call it kenpo or kempo, whichever is easiest on the tongue.

Studied many a splinter with instructors who probably all needed meds or jail to calm them down a bit; some law enforcers, some law breakers. After training in different variations of CK/AK, I worked closely with guys from a couple of different stables to cull our favorite stuff, and toss it in a blender. Added BJJ, muay thai, arnis, judo, taijutsu, and other fun things. Everyone in the crew had "real time" combat experience in law enforcement, personal or corporate security, military duty, etc., so we viewed our previous learning through the lenses of "would you want this tech in your arsenal when your life was on the line, facing an enraged maniac coming after you for your life?", and, "would this technique work against a non-naive combatant, out to do you serious bodily harm?". 

Some things got added, some deleted, and some changed, while other stuff just got more or less emphasized. Added quite a bit relating to dealing with armed, shooting opponents, ball bats, crow bars, etc. Couldn't figger out what to call our little venture (so as to differentiate it from what we did on our own, or before). We were a bunch of guys from different kempo/kenpo backgrounds who got together to train together on a core cirriculum we concurred on after much debate, analysis, and challenge, so we named it (we thought) aptly: Kembudo-Kai Kempo.  Roughly translated = the hand to hand combat stuff practiced by a bunch of guys who get together to practice hand to hand combat stuff...A chinese buddy of mine wrote the characters, then a Japanese member of the group saw them, and read them aloud in Japanese. *Sounded* cooler than the mandarin pronunciation (in other words, easier for us to repeat), so we went with that.

In the end, turns out to look a lot like what the CK oldsters were doing anyway, with the slight addition of BJJ (Mr. Labounty's re-tooling of Thundering Hammers to include some boxing middlin's and judo endings felt very familiar to what we tried so hard to define and refine in Kembudo-Kai...felt like old home, even though I never met the man before the seminar. I guess there is nothing new under the sun).

I've been absolutely blessed and lucky in my journey to have met and trained with many excellent founders & seniors, some wannabe founders & seniors, as well as some well-intentioned frauds, and some creative geniuses who will probably be remembered by history as frauds. Some have passed, and are sorely missed. Some remain, and if my luck holds I will get the chance to study more in-depth with some of the very cool gentlemen I've had the opportunity to meet.

Regards,

Dr. Dave Crouch, DC


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## shane23ss

slightly hybrid form of Ed Parker's American Kenpo


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## young_braveheart

I first started in Chinese Kenpo under Bob McClure (sp?) in Napa CA in the early seventies before I was a teenager.

Today: Go Shin Jitsu Kai Chinese Kempo.


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## N.Somerville

IKCA kenpo for me...


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## Seabrook

EPAK for me.

Hey, Kembudo-Kai Kempoka, I see you are from Huntington Beach, CA. Any ties with Steve Spry? Just wondering.

Jamie


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## Kenpoist

Started EPAK - 1988-1990.  Haven't been able to find it until recently.  Now studying EPAK/TRA-CO.  My instructor teaches the entire technique (with extensions) from the ground level and adds TRA-CO techniques as well.


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## Sam

tracy.


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## asangria

Tai Kenpo - first trained under Master Ray Snyder - now train under Bob Adams & Laura Brady.


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## tongsau

C.H.A. 3 Kempo - Marino Tiwanak
Karazempo - Victor Gascon
Tong sau - closed door McCandles/Okazaki/Hazama Kihei Fujiwara Mitsunobu and the recently deceased Norman Mitsunobu Yahiku
47 Ronin treasures
Okinawa-te (a Kempo branch under McCandles) Doversola
Southern Praying Mantis - Mark Gin Foon


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## daddyslittle1

I used to go rick perez's karate school.Now i go to roanoke valley aikido school.Yes i switched styles:uhyeah: uh,yeah.


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## masherdong

Mine is Kajukenbo.

I am currently studying EPAK and Jun Bao Wu Shu


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## kenpochad

TRACO kenpo


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## masherdong

I did Kajukenbo first and now I am doing American Kenpo.


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## Shaolinmack

Im down with the tracy.


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## KenpoKidZ

yup.  I train in Tracy's...always have and always will.  It is simply what works for me.  Tha being said I have many friends in the AK community whom I hold in high regard as martial artists.



Peace

Zach Atkins

Sandan Tracy's Kenpo


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## Kenpo-Sloth

American Kenpo


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## Mariel Maeso

Kajukenbo Emperado's Method


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## kenpostart

I'm still learning EPAK based on the 24 techniques from the Mid 80s.


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## kenpo0324

Tracys.


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## hongkongfooey

Epak.


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## Pacificshore

Kara-Ho Kempo :asian:


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## PG_ShaolinKempoKarate23

TIGER DRAGON FIGHT said:
			
		

> shaolin chuan fa = UNITED STUDIOS OF SELF DEFENSE under PROFESSOR CHARLES MATTERA on the west coast in california.:jedi1:


 
That's sad, ask your teacher who Fred Villari is.


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## 138

SKSKI Kosho shorei ryu


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## Rick Wade

opneK naciremA

American Kenpo

V/R

Rick


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## fabwiz

Kara-Ho Kempo under Grandmaster Sam Kuoha


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## RevIV

just a not.
you have a spot for Shaolin KeNpo -which would be GM Castro's kenpo.
but you do not have a spot for Shaolin KeMpo - which would be people from villari's on down.
Jesse


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## Carol

RevIV said:


> just a not.
> you have a spot for Shaolin KeNpo -which would be GM Castro's kenpo.
> but you do not have a spot for Shaolin KeMpo - which would be people from villari's on down.
> Jesse



Well....the member that posted this originally did so in 2003.   

Perhaps its time for a new poll?


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## Mekugi

RevIV said:


> just a not.
> you have a spot for Shaolin KeNpo -which would be GM Castro's kenpo.
> but you do not have a spot for Shaolin KeMpo - which would be people from villari's on down.
> Jesse


 

It might be best to just vote "other"  Doing another vote would take longer to gather all the tallies from 2003. 

Interestingly enough (you probably know this):

Linguistically speaking you can only "write" those names as to appear different English, due to the Chinese/Japanese characters being absolutely identical (see below). So really that issue has major bumps to begin with. Plus, the Japanese pronounce "Shaolin" as "Shorinji". Maybe it is best just to leave it, but putting a name of the person who founded it such as "Castro's Shaolin Kenpo" would be prudent as there is no doubt as to who and what. 

&#23569;&#26519;&#23546;&#25331;&#27861;


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## stone_dragone

IKCA Kenpo with much reading and research done on EPAK...hoping one day to get to study EPAK in full.


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## 13yearblack

im in ed parkers kenpo and i study under Sensei-Irv gill, and have for the last 5 years or so.


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## donald

Epak


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## kosho

Kosho Ryu Kempo and Shaolin Kempo and GJJ

Kosho


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## Twin Fist

Tiger Crane Kenpo to BB level under Randy Edwardson
EPAK to green under, well, i would rather not say, PM me if you want to know.
Shaolin KeNpo to Purple under Sifu Mike Cataline


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## Flying Crane

Twin Fist said:


> Tiger Crane Kenpo to BB level under Randy Edwardson
> EPAK to green under, well, i would rather not say, PM me if you want to know.
> Shaolin KeNpo to Purple under Sifu Mike Cataline


 
I'm curious to know what Tiger Crane Kenpo is.  Would you describe this a bit?


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## Touch Of Death

I'm not sure if I have already chimed in on this thread but I'm Kenpo2000 under Skip Hancock. 
Sean


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## Twin Fist

Tiger Crane Kenpo, as I was taught was based loosely on EPAK, but with more chinese elements in the movements.

We used both the EPAK forms and some selected japanese forms such as kanku dai, kusanku and bassai among others. 

This seemed odd to me given that the idea was to learn the kenpo "flow" and the janpanese forms were not known for flowing movements but it was fun to study. I was told that the japanese kata were to learn power, and the kenpo kata were to learn flow.

The Parker techniques were not taught, but the principals of movement were. It also incorporated elements from Hawaiian Lua.

It is basically a dead style now, since the highest ranked master of the system fell off the face of the planet.


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## Flying Crane

Twin Fist said:


> Tiger Crane Kenpo, as I was taught was based loosely on EPAK, but with more chinese elements in the movements.


 
What were the CHinese elements?  any forms?


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## Twin Fist

no, no chinese forms, he just sort of "kung fu'd" up the epak forms a bit. Made them slightly softer I guess you could say.

over all, i would say the system was simular to goju in some respects (of course that could be said for a lot of kenpo) or maybe Hung gar in the hard soft aspect.


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## John Bishop

Twin Fist said:


> Tiger Crane Kenpo, as I was taught was based loosely on EPAK, but with more chinese elements in the movements.
> 
> We used both the EPAK forms and some selected japanese forms such as kanku dai, kusanku and bassai among others.
> 
> This seemed odd to me given that the idea was to learn the kenpo "flow" and the janpanese forms were not known for flowing movements but it was fun to study. I was told that the japanese kata were to learn power, and the kenpo kata were to learn flow.
> 
> The Parker techniques were not taught, but the principals of movement were. It also incorporated elements from Hawaiian Lua.
> 
> It is basically a dead style now, since the highest ranked master of the system fell off the face of the planet.



I remember them from the 80's.  They were pretty heavy into the So. Cal  tournament scene.  I remember them teaming up with a tang soo do school and calling themselves the "Unison" team.  
I assume your talking about Randy Edwardson as the leader who fell off the face of the earth?  I seem to recall his son being a black belt.  And I've seen some "tiger crane kenpo" guys at recent tournaments.  So there may be a few of them still around.  If I remember right they were from Long Beach, Ca.
I also remember that Randy was affliated with Sol Kaihewalu's organization before he disappeared.  When I asked Sol about Randy's kenpo roots, he said he was originally from the Tracy system.


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## Twin Fist

Prof Bishop,
You are correct Sir.
Randy Edwardson (Kenpo) joined with Steve Amaro (TSD) to form team unison. Prob the biggest tournament name from team Unison was EJ Volta and or Omar Guerro. 

Randy's school was in Long Beach where i was stationed at the time ( I started with Randy in 90)

Randy disappeared in 94 or so, and to my knowledge hasnt been seen since.

Oh, you are thinking of his brother Micheal Mounce, Randy didnt have any kids. Micheal's son Matt has been around, so it was prob him or some of his students you ran into.

You are also correct that Randy got his 5th from "the Olohe" At the time, i didnt realize that cross system promotion was a no no, but i found out later that Sol did a lot of that sort of thing.


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## John Bishop

Twin Fist said:


> Prof Bishop,
> You are correct Sir.
> Randy Edwardson (Kenpo) joined with Steve Amaro (TSD) to form team unison. Prob the biggest tournament name from team Unison was EJ Volta and or Omar Guerro.
> 
> Randy's school was in Long Beach where i was stationed at the time ( I started with Randy in 90)
> 
> Randy disappeared in 94 or so, and to my knowledge hasnt been seen since.
> 
> Oh, you are thinking of his brother Micheal Mounce, Randy didnt have any kids. Micheal's son Matt has been around, so it was prob him or some of his students you ran into.
> 
> You are also correct that Randy got his 5th from "the Olohe" At the time, i didnt realize that cross system promotion was a no no, but i found out later that Sol did a lot of that sort of thing.



He must have been a mysterious guy.  Master Michael Mounce claims to be Randy's  "cousin".  And I seem to remember a teenage black belt from that group named "Randy Edwardson Jr."
Anyone know what happened to Randy?  I know Sol didn't know where he disappeared to.  He seemed to be mad at Randy over some business deal.


----------



## Twin Fist

Prof Bishop.
I think you are right, after you posted that, i thought back and I am sure Randy told us Mike Mounce was his cousin. 

Funny thing is, he always told us he didnt have any kids. If he did it wouldnt surprise me. I found out later that there was lots of things we got told that were not exactly 100% true.

A business deal gone bad wouldnt surprise me either. He wasnt very carefull with money. 

I liked him, and I  learned alot about Kenpo theory from him,  but he was like  many are, a man with flaws.

A google for "Randy Edwardson" comes up with nothing.


----------



## John Bishop

Twin Fist said:


> Prof Bishop.
> I think you are right, after you posted that, i thought back and I am sure Randy told us Mike Mounce was his cousin.
> 
> Funny thing is, he always told us he didnt have any kids. If he did it wouldnt surprise me. I found out later that there was lots of things we got told that were not exactly 100% true.
> 
> A business deal gone bad wouldnt surprise me either. He wasnt very carefull with money.
> 
> I liked him, and I  learned alot about Kenpo theory from him,  but he was like  many are, a man with flaws.
> 
> A google for "Randy Edwardson" comes up with nothing.



Here's a picture from a tournament in 1988.  Maybe someone who wrote the caption made a mistake.   You see Randy in the back row, right side.  The teen kneeling in front of him is identified  as "Randy Edwardson Jr".  Do you recognize him as someone else?


----------



## Twin Fist

Prof Bishop,
Thats Master Randy, sure enough, neat to see Paulie Zink standing next to him. The young man in front of Randy I have never seen. He was not at the school when i was there. Maybe they had a father/son falling out. I have no idea. I found Matt Mounce (micheal's son)on MySpace, I will contact him and ask about Randy jr. I will be sure to let you know what I find out.

Funny thing about that picture tho.

If you look at the belt Randy Jr is wearing, it appears to have kanji characters on it. That is something they do in the Tracy system. When I was with master Randy tho, he had the 5 inch solid red stripe for 5th degree that they use in the Parker system.This is not something they do in the Tracy system, But The Olohe told you Randy was from Tracy's

strange strange


----------



## Josh Oakley

TIGER DRAGON FIGHT said:


> shaolin chuan fa = UNITED STUDIOS OF SELF DEFENSE under PROFESSOR CHARLES MATTERA on the west coast in california.:jedi1:


Yes and no. Shaolin fist law (chuan fa) and Shaolin kempo are not exactly the same, 100%. If they were, we wouldn't be going to the Shaolin temple every couple of years. (I hear it's every year for the east coast guys). Shaolin Kempo was created by Fred Villari, and We (USSD) broke off from him. 

The only relevant difference that I know of between Nick Cerios kempo and Shaolin Kempo is the addition of Sho tung kwok. There have been other changes Between Cerio's Kempo and Shaolin Kempo (and between the different branches of SK), however.


----------



## championmarius

As far as I can tell, by comparative research, I learned Kenpo in an American Kenpo school under the Tracy lineage name, and with the Chinese Kenpo curriculum....hence my confusion on previous posts...

I have pretty much let the ship sail on trying to figure out just what the heck it is, and just say, "It is what it is."

Besides, no matter who, what, where, and how, it is MY Kenpo...


----------



## MarkC

I'm very new here. I got my black belt through sandan rank in Shaolin Kempo Karate from Shihan John Stover in North Carolina. His instructor was Albert Church, whose system was Shorinji Tetsukempo Kamishin ryu.
Since I moved out here near Seattle about 8 years ago, I haven't done any formal training, still looking for a school.


----------



## KenpoKing

Hey guys, I'm new here, but study EPAK in England, I didn't realise there were so many variations of Kenpo.  Hoping to come over to the states at the end of next yaer for the world karate championship in vegas, will many of you be attending for the seminars / competition?.


----------



## Kembudo-Kai Kempoka

John Bishop said:


> Here's a picture from a tournament in 1988. Maybe someone who wrote the caption made a mistake. You see Randy in the back row, right side. The teen kneeling in front of him is identified as "Randy Edwardson Jr". Do you recognize him as someone else?


 
I remember that guy with the beard. Used to run around the So Cal open tournament scene like da bomb; try to take over things at the internationals just by blustering his way into what he percieved as vacancies. Kinduva Alexander Haig thing..."nobody else to be seen? I'm in charge!"

He did give a good WWF-type dramatic show at running a ring, though.

D.


----------



## Doc

John Bishop said:


> Here's a picture from a tournament in 1988.  Maybe someone who wrote the caption made a mistake.   You see Randy in the back row, right side.  The teen kneeling in front of him is identified  as "Randy Edwardson Jr".  Do you recognize him as someone else?


My old ram challenged memory banks tell me that's "Randy *Edmundson*." Dr. Dave's assessment is correct. Came out of nowhere, had a school in Long Beach mostly kids, ran around inserting himself into the tournaments, hooked up with Sol, got unhooked from Sol, disappeared.


----------



## John Bishop

Doc said:


> My old ram challenged memory banks tell me that's "Randy *Edmundson*." Dr. Dave's assessment is correct. Came out of nowhere, had a school in Long Beach mostly kids, ran around inserting himself into the tournaments, hooked up with Sol, got unhooked from Sol, disappeared.



Pretty much how my memory of him is, except for the spelling.   I remember him insisting that the employees at the old "Phil Hall's Martial Arts Supply" refer to him as "Master Randy".   
And then one day, he was just gone.  
Doc, maybe you should check and see if he's in witness protection somewhere LOL


----------



## Doc

John Bishop said:


> Pretty much how my memory of him is, except for the spelling.   I remember him insisting that the employees at the old "Phil Hall's Martial Arts Supply" refer to him as "Master Randy".
> And then one day, he was just gone.
> Doc, maybe you should check and see if he's in witness protection somewhere LOL


I'd be more inclined to check to see if "Master Randy" is in custody somewhere. maybe he's sitting next to Darnell.  Thanks for the memory jog sir.


----------



## Kembudo-Kai Kempoka

John Bishop said:


> Pretty much how my memory of him is, except for the spelling. I remember him insisting that the employees at the old "Phil Hall's Martial Arts Supply" refer to him as "Master Randy".
> And then one day, he was just gone.
> Doc, maybe you should check and see if he's in witness protection somewhere LOL


 
Poor Wendy. She and Leo, in particular, wouldn't say BS if they had a mouthful. Too bad they had to be nice for the sake of the account.

D.


----------



## K831

I picked the something else option since "Parker's Kenpo" has gotten to be a pretty broad term. After having some boxing/Muay Thai training, and several American Kenpo associations etc... I have found my home with Mr. Mills and the AKKI.


----------



## austin_nstephen@yahoo.com

the person you refer to is his little brother Larry. I was a kid in the eighty's. Ive participated in three internationals. I place 2nd once in the under 12yr. I left to join the Marines. Now I go to school to be a physicist. I think Master Edwardson is in Texas some where.


----------



## 50fighter

White Tige Kenpo Karate


----------



## 50fighter

White Tiger Kenpo Karate


----------



## celtic_crippler

First: American Kenpo (I differentiate this from EPAK as many feel the curriculums are different even though developed by SGM Parker)

Now studying Chinese Kenpo.


----------



## ~Dragon~

Ok, I joined this forum just so I can post this. Maybe I could shed some light on Master Randy. Randy was a long shoreman of the shore of Long Beach. Worked very long and hard hours and at first seemed very dedcated to his art. In his off time he liked to watch WWF and Martial arts Videos in his back room of the Dojo. I was a student of his when his Dojo was still in a garage in Long Beach around 1986 - 1988. Some other students of his were, Terry Quick & Mark McFadden. Terry was the one whom was responcible for my joining his team.  I remember Randy's dedication to the Parker system was much higher in respect and in comparason to the Tracy system, something Randy was feeling out at the time which could explain the Tracy system markings on little Jr belt and the fact that Randy used Strips for his own students. However I do not recognize Jr at all. I did go back to find the Dojo again many years latter 1995 i think, and some other guy I think it was Mounce at moved the whole thing to cherry street in Long Beach and Randy had just simply drpped off the face of the planet. The romour at the time was Randy had to move out of state due to some legal issues, I dunno kinda foggy in my head. One thing I do remember though is I worked very hard to acheive something I never got with Randy. When others were moveing up the Ranks faster than I was givien the same dedication I gracfully bowed out. I wouldn't be suprised if Randy was into something to deep for even him to get out of.


----------



## Danjo

~Dragon~ said:


> Ok, I joined this forum just so I can post this. Maybe I could shed some light on Master Randy. Randy was a long shoreman of the shore of Long Beach. Worked very long and hard hours and at first seemed very dedcated to his art. In his off time he liked to watch WWF and Martial arts Videos in his back room of the Dojo. I was a student of his when his Dojo was still in a garage in Long Beach around 1986 - 1988. Some other students of his were, Terry Quick & Mark McFadden. Terry was the one whom was responcible for my joining his team. I remember Randy's dedication to the Parker system was much higher in respect and in comparason to the Tracy system, something Randy was feeling out at the time which could explain the Tracy system markings on little Jr belt and the fact that Randy used Strips for his own students. However I do not recognize Jr at all. I did go back to find the Dojo again many years latter 1995 i think, and some other guy I think it was Mounce at moved the whole thing to cherry street in Long Beach and Randy had just simply drpped off the face of the planet. The romour at the time was Randy had to move out of state due to some legal issues, I dunno kinda foggy in my head. One thing I do remember though is I worked very hard to acheive something I never got with Randy. When others were moveing up the Ranks faster than I was givien the same dedication I gracfully bowed out. I wouldn't be suprised if Randy was into something to deep for even him to get out of.


 
So you don't like the guy because he didn't promote you fast enough?


----------



## ~Dragon~

Maybe? I didn't mind the work outs and the oportunity to learn was good. However, I guess there was always something dark about Randy, but I could never put a finger on it. Of course that was from my perspective and not others. It kinda started when he was tring to force me into tornaments, which I made it very clear to him up front that I will do one tournament for the experiance. then after the tournamnet he didn't seem to want to work with me anymore. Don't get me wrong, there are a lot of rumors flying around about Randy and don't know if there true or not however, From my perspective, he seemed to play favorites within his students know matter how hard they worked it.


----------



## Twin Fist

Danjo,
I was a student of the guy, and I saw the types of things Dragon spoke of. If Randy didnt like you, you didnt get promoted. Regardless of skill. If you didnt compete in the local tourny's, you didnt get promoted either.

Heck, I left the school when I found out that while I was out to sea on a deployment, he had given my girlfriend, also a student at his school a HIGHLY inappropriate gift. Like, lingerie inappropriate.

Dragon,
I know exactly what you are talking about. There was something dark, and not quite....right about Master Randy. He was a good Kenpoist, and I learned a lot from the guy, but after he hooked up with Olohe, he changed. He wasnt a bad guy, but he wasnt an honest man either.

I do hope he is doing well and finding some peace with himself.

Doc,
wanna talk about bad luck in Kenpo?
When I left Master Randy, I ended up with Steve Spry.........................

It's a miracle I stayed with kenpo at all.....


----------



## Touch Of Death

Twin Fist said:


> Danjo,
> I was a student of the guy, and I saw the types of things Dragon spoke of. If Randy didnt like you, you didnt get promoted. Regardless of skill. If you didnt compete in the local tourny's, you didnt get promoted either.
> 
> Heck, I left the school when I found out that while I was out to sea on a deployment, he had given my girlfriend, also a student at his school a HIGHLY inappropriate gift. Like, lingerie inappropriate.
> 
> Dragon,
> I know exactly what you are talking about. There was something dark, and not quite....right about Master Randy. He was a good Kenpoist, and I learned a lot from the guy, but after he hooked up with Olohe, he changed. He wasnt a bad guy, but he wasnt an honest man either.
> 
> I do hope he is doing well and finding some peace with himself.
> 
> Doc,
> wanna talk about bad luck in Kenpo?
> When I left Master Randy, I ended up with Steve Spry.........................
> 
> It's a miracle I stayed with kenpo at all.....


Not to defend master Randy but why promote a person you don't like?
Sean


----------



## Twin Fist

uh, because they earned it?


----------



## Danjo

Twin Fist said:


> Danjo,
> I was a student of the guy, and I saw the types of things Dragon spoke of. If Randy didnt like you, you didnt get promoted. Regardless of skill. If you didnt compete in the local tourny's, you didnt get promoted either.
> 
> Heck, I left the school when I found out that while I was out to sea on a deployment, he had given my girlfriend, also a student at his school a HIGHLY inappropriate gift. Like, lingerie inappropriate.
> 
> Dragon,
> I know exactly what you are talking about. There was something dark, and not quite....right about Master Randy. He was a good Kenpoist, and I learned a lot from the guy, but after he hooked up with Olohe, he changed. He wasnt a bad guy, but he wasnt an honest man either.
> 
> I do hope he is doing well and finding some peace with himself.
> 
> Doc,
> wanna talk about bad luck in Kenpo?
> When I left Master Randy, I ended up with Steve Spry.........................
> 
> It's a miracle I stayed with kenpo at all.....


 
Well, I have no doubt that what you're saying is true regarding this person and his character. In general, however, promotions are funny things. THey are judgement calls for the most part by the instructor etc. Some DO require tournement participation for promotion. Judo, for instance has points accumulated during tournements as part of it's promotion requirements etc. Not that that's my cup of tea, per se, but there's no governing body to determine when someone has earned a promotion. It just semed like an odd area to critique this guy on, and it made "Dragon" sound petty. I always fell that a student that gets promoted before he thinks he's ready is better than one that thinks he should have been promoted before the instructor does.

Anyways, was the lingerie martial arts related? (Just Kidding)


----------



## Twin Fist

Danjo said:


> I always fell that a student that gets promoted before he thinks he's ready is better than one that thinks he should have been promoted before the instructor does.




oooh, I like that. Mind if I print that out and put it up in my dojo?


----------



## Danjo

Twin Fist said:


> oooh, I like that. Mind if I print that out and put it up in my dojo?


 
LOL. Only if you correct my spelling.


----------



## rainlord

I studyied under randy edwardson in long beach...in the picture in front of him is larry edwardson his brother and michal mounce was hgis cousin
yes he left owing money and ditching his students...he lives in texas hs a wife and 3 kids...does not practice the art antmore


----------



## John Bishop

rainlord said:


> I studyied under randy edwardson in long beach...in the picture in front of him is larry edwardson his brother and michal mounce was hgis cousin
> yes he left owing money and ditching his students...he lives in texas hs a wife and 3 kids...does not practice the art antmore



Just put of curiosity, who was his kenpo instructor?  And what kenpo system did he receive his rankings in?


----------



## Twin Fist

I for one would like to find him. Texas needs more Kenpo instructors.Not to mention Texas REALLY needs more kajukenbo instructors. The style would go over well down here, it fits the texas mindset. And I would love to get a chance to study it. Of all the arts i have learned about, Kaju is the one i would want to study now. But the nearest kaju teachers near me are over 3 hours away in Arlington.


----------



## John Bishop

Twin Fist said:


> I for one would like to find him. Texas needs more Kenpo instructors.Not to mention Texas REALLY needs more kajukenbo instructors. The style would go over well down here, it fits the texas mindset. And I would love to get a chance to study it. Of all the arts i have learned about, Kaju is the one i would want to study now. But the nearest kaju teachers near me are over 3 hours away in Arlington.




There's quite a few Kajukenbo teachers in Texas.  Problem is the state is so geographically large.  
There's probably more, but I know of schools in: Texarkana, Georgetown, San Antonio, Houston, Mission, Abilene, Fort Worth, Watauga, Plano, Arlington, Brownwood, Belton, and Mercedes.


----------



## Twin Fist

Professor Bishop,
Yes, I have looked into all those locations, and sadly, none are closer than 3 hours drive time. I know James Cox from the local Tourny scene. And I know there are several schools with great ties to the original method (which is the one I am most interested in) in the D/FW metroplex.

There is one school in Shreveport that might work. I will let you know. As always, thank you for your guidance and advice.


----------



## DocWard

I voted "other" because my instructor is technically an independent school. He learned from Jay T. Will, and would probably fall under Tracy, however, he has also trained with the late Ed Parker, as well as Huk Planas and Lee Wedlake.

I haven't actively trained for a few years, but am contemplating going back to finish my black belt. I stopped at brown belt (Ikkyu) because I was having serious knee pain, and thought I was going to need surgery. Orthotics fixed the problem, but by that time my schedule was so tight I kept finding reasons not to go back.

I may study ninjutsu instead, or perhaps after, but whatever I do, a part of my will always be a Kenpo stylist.


----------



## MarkC

MarkC said:


> I'm very new here. I got my black belt through sandan rank in Shaolin Kempo Karate from Shihan John Stover in North Carolina. His instructor was Albert Church, whose system was Shorinji Tetsukempo Kamishin ryu.
> Since I moved out here near Seattle about 8 years ago, I haven't done any formal training, still looking for a school.


 
Thought I'd update this.
I'm now studying Kara-Ho Kempo as a beginner, and also have been honored to be allowed to join a group of American Kenpo people's workouts as well.


----------



## Fei Ze Min

Mark L said:


> This means the _name_ is protected, right?  Maybe this should be a separate thread (mods. discretion), I'm curious about what if any protection of the core material of a style is offered by the law.  I was accosted via PM a while back because I admitted to learning and practicing a series of forms from a kempo style that apparently wishes to keep their stuff close.  The thrust was my teacher was violating a copywrite and could be subject to a suit.
> 
> It seems that knowledge gained over the course of one's MA career, from whatever divergent sources, forms the unique style each of us embodies.  Do you think we are, or should be, free to perpetuate the material to which we've been exposed?



Absolutely we should be free to spread our knowledge regardless where it's from.  can you imagine a college professor trying take a former student to court because he was teaching something he learned in class?  i find it extremely arrogant that anyone thinks they own a particular style of combat.  maybe we should all start paying royalties to the guy who first threw a punch!
By the way I study Dragon Kenpo.


----------



## Danjo

Fei Ze Min said:


> Absolutely we should be free to spread our knowledge regardless where it's from. can you imagine a college professor trying take a former student to court because he was teaching something he learned in class? i find it extremely arrogant that anyone thinks they own a particular style of combat. maybe we should all start paying royalties to the guy who first threw a punch!
> By the way I study Dragon Kenpo.


 
Perfect. Let's all send tribute to Greece! Since Pancrase went from there to India where it became Kalari, and from there to China where it became Shaolin Gung Fu, then from there to Okinawa etc. I say we should all pay tribute to our Greek origins.


----------



## Fei Ze Min

Danjo said:


> Perfect. Let's all send tribute to Greece! Since Pancrase went from there to India where it became Kalari, and from there to China where it became Shaolin Gung Fu, then from there to Okinawa etc. I say we should all pay tribute to our Greek origins.



Excellent!  Who do I make the check out to?


----------



## Danjo

Fei Ze Min said:


> Excellent! Who do I make the check out to?


 
Please make checks payable to "Alexander the Average"  who tells me that he is an indirect descendant of "Alexander the Great". The reason that he's only average, is that his only "conquests" were of the women that were nearly passed out from too much Uzo. But he assured me that he would send you rank recognition depending on how much you sent him.


----------



## sjansen

I am doing the IKCA program because there is absolutly noone in my area who does kenpo.


----------



## MarkC

Scott, check you inbox for a PM....


----------



## Lilyth

Shaolin kenpo.


----------



## youngbraveheart

Nightingale said:


> there are lots of different kinds of kenpo out there... which one is yours?


 
I can't remember if I ever posted to this thread...

Go Shin Jitsu Kenpo/Chinese Kempo
Chow/Chun Method


----------



## Kenpo17

My primary lineage is Parker Kenpo, however I have learned Chinese Kempo, and a little tiny bit of Tracy's Kenpo, but not much.


----------



## suicide

went to a tournament this sunday and seen a sick kujukenbo kata by one of there 4 dergree black belts ' i filmed it on my mini dvd rec. im a see if i could get it transfered and put on youtube soon. 


his gi had kajukenbo all over and on one of his patches it kenpo and hawaii under it ? 

:mst:


----------



## Danjo

suicide said:


> went to a tournament this sunday and seen a sick kujukenbo kata by one of there 4 dergree black belts ' i filmed it on my mini dvd rec. im a see if i could get it transfered and put on youtube soon.
> 
> 
> his gi had kajukenbo all over and on one of his patches it kenpo and hawaii under it ?
> 
> :mst:


 
Different methods and branches go by different names: For instance,  There are Original Method/Emperado Method/Hard Style/Kenpo Karate method/Old Hard Style etc etc. all used to describe the same basic branch.


----------



## suicide

which one are you


----------



## Danjo

suicide said:


> which one are you


 
Original Method/Emperado Method/Hard Style/Kenpo Karate method/Old Hard Style

(See my signature)


----------



## Poppie666

Let me see where I can Begin on the story of Tiger Crane Kenpo Karate. My name is Mike Mounce, Co-founder of this system.
In the early 70s Randy Edwardson and Myself trained under Armando Fleming who started TCKK then in the mid 80s it was turned over to me as Mr. Fleming retired.
When Randy got out of the service we partnered to open the School. Due to differences of opinion we parted ways and Randy who was married with a daughter moved to Texas and we have not been in contact since. Randy was like a nephew since I have known him since he was in high school. Larry is his little brother. Randy did train with Sol for awhile and what happened to there relationship I am not aware.
I reopened TCKK in the late 90s with my wife Linda, my son and daughter Matthew & Louise and Tracy Smith in Long Beach/Signal Hill CA. and closed in 99 due to the same problems most schools were having at that time (low student counts). A few of my instructors ate still teaching and carrying on the tradition of TCKK and I still keep my had in it although being a little hard to do that and raise 5 grandchildren. I was promoted to 7th degree by a consciences of black belts of well known caliper one of which was Mr. Parkers Wife which ment more to me than most things I pride. Randy and I although being out of the Tracy system but were very close to the Parker family and the International Chapionships in Long Beach. So we are still around and hope to bearound for some time. 
I hope this clears up some of the questions on us and our history and reputation which is well respected today. Just ask Frank Treijo or David Motzak or Mohamed Jon Vash.
Thanks Grandmaster Mike Mounce TCKK


----------



## Bill_Hunsicker

Chinese Kenpo


----------



## searcher

I will chime in now.

My first style I trained in after I stopped with my father was Hawaiian Kenpo.

As of last week I am back to EPAK and loving every minute.  It is the piece of the puzzle I have been missing for the last 20+ years.


----------



## Doc

Why, the really good one, of course.


----------



## Matt

Doc said:


> Why, the really good one, of course.



Well duh! If only more people would understand that, we wouldn't have to have these threads.


----------



## Scotty

Dragon Kenpo/American Kenpo


----------



## dianhsuhe

suicide said:


> went to a tournament this sunday and seen a sick kujukenbo kata by one of there 4 dergree black belts ' i filmed it on my mini dvd rec. im a see if i could get it transfered and put on youtube soon.
> 
> 
> his gi had kajukenbo all over and on one of his patches it kenpo and hawaii under it ?
> 
> :mst:


 
There are a couple of individuals in Southern California that were Kaju powerhouses.

Sifu Tim Bowles (Tony's son)
&
Rodney Alo (Ron's son)

I think Bowles is now with Kosho-Ryu but they both are EXCELLENT technicians, nice folks and just great all around martial artists.

I have never beaten either one of them 

I am Kara-Ho to answer the original threads question.


----------



## Milt G.

Nightingale said:


> there are lots of different kinds of kenpo out there... which one is yours?


 
Hello,
While I have studied Tracy's Kenpo, Kosho-Ryu Kempo and American Kenpo fairly extensively, I consider my "roots" to be in Tracy's Kenpo, as I had my start there.  At that time there was not the difference in the Tracy's Kenpo and EPAK that there is these days.

When asked what I "do", my usual answer is "Tracy's Kenpo".

And there are certainly many different (and similar) Kenpo styles out there.  Sadly, it can be like religion...  Only the practitioners that study "this or that" Kenpo will be able to get into "heaven"...  Certainly absurd.  The real deciding factor is the individual practitioner, not the Kenpo system studied.

Nice topic.  Thank you.
Milt G.


----------



## KenpoDave

Matt said:


> Well duh! If only more people would understand that, we wouldn't have to have these threads.


 
We all understand that.  The problem is that we all think everybody else does the really bad one.:wavey:


----------



## Jdokan

is there a bad Kenpo?   get outta here!!!


----------



## MarkC

I'm sad to say that yes, indeed there is a bad kenpo out there. Or two or three.


----------



## K831

MarkC said:


> I'm sad to say that yes, indeed there is a bad kenpo out there. Or two or three.



So much so, that it makes it hard not to assume most people do the really bad Kenpo. 

I know that's not true, but when people tell me they do "Kenpo/Kempo" I find my self thinking "ug... you poor guy" which of course, is why I don't take it personally when they do it to me. Of course, I have done bad Kenpo.... or two, or three.


----------



## Touch Of Death

The closer truth is that everyone's Kenpo is suited for what they are concerened about. Kenpo becomes bad when you either fail to recognize a real concern or the kenpo is identified by others whom see that lack of concern.
Sean


----------



## MarkC

For me, it boils down to whether or not you learned proper basics in the first place, and the responsibility for that lies with your instructor, initially at least.
To me "bad kenpo" ( as well as "bad kempo" and whatever else) involves more talking than doing, people rushing through technique sequences far too fast, and being unrealistic about what you're trying to do.


----------



## Milt G.

Hello...

On a side note...  
Poor Kenpo is in the eyes of the beholder.  No matter what is displayed it will garner many different responses.  Depending on who is doing the critique, and why.  This is good, and bad.  

I have seen what I consider good Kenpo "discounted" by others.  I have seen what I consider to be "not so good" Kenpo applauded by others as well.

I think that all opinions are valid.  As long as they are from "an informed source" and not politically motivated.

I do not really care for lima beans...  Does that make them bad???
Maybe...   

Thank you,
Milt G.


----------



## MarkC

True in a few ways, and at the end of the day, if it works effectively, that's a good thing. However, a neutral bow stance is a neutral bow stance. The same is true for all basics, and if they're done sloppily or without being sound from an anatomical perspective, in my book, that's "bad".


----------



## K831

Milt G. said:


> Hello...
> 
> On a side note...
> Poor Kenpo is in the eyes of the beholder.  No matter what is displayed it will garner many different responses.  Depending on who is doing the critique, and why.  This is good, and bad.
> 
> I have seen what I consider good Kenpo "discounted" by others.  I have seen what I consider to be "not so good" Kenpo applauded by others as well.
> 
> I think that all opinions are valid.  As long as they are from "an informed source" and not politically motivated.
> 
> I do not really care for lima beans...  Does that make them bad???
> Maybe...
> 
> Thank you,
> Milt G.



Very true. As the "beholder" I identify good or bad Kenpo from the point of view that "good Kenpo" excels at winning an altercation with someone who wants to do me grave harm in a setting where no rules apply. "Bad Kenpo" of course, does so less effectively, or not at all. 

However, I stopped by a new Kung-fu / Chineese Kenpo school here in the area recently. I was so apauled by what was taught that I asked one of the lower ranking students "what made you sign up" expecting to hear a niave "I wanted to learn how to fight".... he said; "This system is 1500 years old and this school teaches it the same way it was taught back then. It is rich in history and origional culture, and I wanted to learn a really old, authentic chineese system." 

Different beholder...different lense.


----------



## Yondanchris

Skk!


----------



## Milt G.

Hello,

Tracy's Kenpo, mostly...
I have also studied Kosho-Ryu Kempo and American Kenpo extensively.

Thanks,
Milt G.


----------



## OKenpo942

Ed Parker's American Kenpo.


----------



## Mass

I do Nick Cerio's, Shoju-Kempo Ryu and KenJitsu Ryu.


----------



## Sensei Payne

Ryukyu Kempo


----------



## bryansb

Kara Ho and loving it been in for 18 yrs


----------



## gavarn

I study Koga Ha Kosho Shorei Ryu Kempo under the tutalage of GGM Nimr Hassan in Phila. Pa...


----------



## bryansb

studyed Tracey system for a year then switched to Kara Ho Kempo where I been training ever since


----------



## senseishane

Kara-Ho Kempo - 22 years.


----------



## dianhsuhe

Shihan Shane!  Congrats on the promotion bro-  Dig your avatar, I used to use that all the time.  lol

In Kara-Ho,
Sensei Jamey


----------



## ddurden

Mainly Tracy Karate since the late 80's.  I've also studied with the Southeastern Kenpo-JuJitsu Brotherhood for some time, and they are an excellent collection of ladies and gentlemen . . . and skilled fighters standing or on the ground.

Our Tracy school and the Southeastern "braddas" are pretty tight despite being from different branches . . . of the same tree, of course!


----------



## OliviaEd27

Hello! My name is Olivia, and my dad was Master Randy. He left California for my mother, she got a better job offer and they wanted to start over. He never quit practicing Kenpo but he wanted to be able to support and give me the best possible life in Texas. I picked up so many things from him in Karate. I still have his staff and black belts. He passed away a few years ago, and I just wanted to let you all know what happened to master Randy Edwardson. He never stopped talking about all of his students and his love for Kenpo.


----------



## Buka

Welcome to MartialTalk, OliviaEd27.   Hope you enjoy it here.

And I'll bet your dad's proud of you.


----------



## OliviaEd27

Buka said:


> Welcome to MartialTalk, OliviaEd27.   Hope you enjoy it here.
> 
> And I'll bet your dad's proud of you.



Thank you!
He was always very proud of me. People were mentioning him on this forum so I decided to let people know what had happened to him.


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## Buka

OliviaEd27 said:


> Thank you!
> He was always very proud of me. People were mentioning him on this forum so I decided to let people know what had happened to him.



That was nice, I'm glad you did. Are you still training?


----------



## OliviaEd27

I'm trying to find a place here in DFW. It was hard to even think about training once he died, but now I miss it.


----------



## Tames D

OliviaEd27 said:


> Hello! My name is Olivia, and my dad was Master Randy. He left California for my mother, she got a better job offer and they wanted to start over. He never quit practicing Kenpo but he wanted to be able to support and give me the best possible life in Texas. I picked up so many things from him in Karate. I still have his staff and black belts. He passed away a few years ago, and I just wanted to let you all know what happened to master Randy Edwardson. He never stopped talking about all of his students and his love for Kenpo.


Hi Olivia. Welcome.


----------



## Tames D

OliviaEd27 said:


> Hello! My name is Olivia, and my dad was Master Randy. He left California for my mother, she got a better job offer and they wanted to start over. He never quit practicing Kenpo but he wanted to be able to support and give me the best possible life in Texas. I picked up so many things from him in Karate. I still have his staff and black belts. He passed away a few years ago, and I just wanted to let you all know what happened to master Randy Edwardson. He never stopped talking about all of his students and his love for Kenpo.


Hi Olivia. Welcome.


----------



## Sami Ibrahim

"American Kenpo"


----------



## Kenshijim1975

Nightingale said:


> there are lots of different kinds of kenpo out there... which one is yours?


Below is some info on  2 of the 3 styles of kenpo I study

Gyokko Ryu (“Jeweled/Jade Tiger School) is a Koryu Japanese Martial Art of Koshijutsu (Nerve Striking Technique) believed to have originated in China during the Heian Period,officially founded in 1156 AD. It stems from a style of Chinese ****ojutsu (lit. “Finger Blade Tehcnique) where striking with the fingers is emphasized. It was transmitted mostly orally from teacher to student before being documented by Takamatsu Toshitsugu and Masaaki Hatsumi.


1. O Gyokko (The original founder of Chinese ****ojutsu)

2. Ikai (The man credited for bringing ****ojutsu to Japan circa 1156 AD)

3. Gamon Doshi

4. Garyu Doshi

5. Hachiryu Nyudo Tozawa Hakuunsai (The master of Sarutobi Sasuke, circa 1159 AD)

6. Tozawa Shosuke Oho (circa 1162 AD)

7. Suzuki Saburo Shigeyoshi (circa 1180)

8. Suzuki Gobei Mitsusada

9. Suzuki Kojiro Mitsuhisa

10. Tozawa Soun (circa 1288 AD)

11. Tozawa Nyudo Genai

12. Yamon Hyoun

13. Kato Ryubaiun (circa 1394 AD)

14. Sakagami Goro Katsushige (circa 1532 AD)

15. Sakagami Taro Kunishige

16. Sakagami Kotaro Masahide

17. So Gyokkan Ritsushi

18. Toda Sakyo Ishinsai

19. Momochi Sandayu (circa 1555 AD)

20. Momochi Sandayu II (circa 1591 AD)

21. Momochi Tanba Yasumitsu (circa 1615 AD)

22. Momochi Taro Saemon (circa 1624 AD)

23. Toda Seiryu Nobutsuna (circa 1644 AD)

24. Toda Fudo Nobuchika (circa 1681 AD)

25. Toda Kangoro Nobuyasu (circa 1704 AD)

26. Toda Eisaburo Nobumasa (circa 1711 AD)

27. Toda Shinbei Masachika (circa 1736 AD)

28. Toda Shingoro Masayoshi (circa 1764 AD)

29. Toda Daigoro Chikahide (circa 1804 AD)

30. Toda Daisaburo Chikashige (circa 1804 AD)

31. Toda Shinryuken Masamitsu (born 1824, died 1909)

32. Takamatsu Toshitsugu (born 1887, died 1972)

33. Hatsumi Yoshiaki (Masaaki) (1931– present)



*Kamae*

Kamae (構) "Structure/Posture"

*Migi Ichimonji no Kamae (右一文字之構) “Right One Character Posture”*
The feet are approximately apart 1.5 times your shoulder width. The right foot is pointed forward and slightly in, while the rear is pointed left or slightly back, forming an L shape. The hips are low and the weight is distributed 60% to the rear. Your right hand is extended, with the fingers pointed, and bladed at the same angle as your foot, such that the middle knuckle is point at the uke’s heart. You left hand is held in a fist, and is hovering just above the right elbow.

*Hidari Ichimonji no Kamae (左一文字之構) “Left One Character Posture”*
Same as Migi Ichimonji no Kamae, except on the opposite side.









*Migi Hicho No Kamae (右飛鳥之構) “Right Bird Posture”*
From Migi Ichimonji no Kamae, shift your weight back to your rear left foot. Bring the heel of the right foot up and place on the yaku of your left leg. The upper body remains the same.

*Hidari Hicho no Kamae (左飛鳥之構) “Left Bird Posture”*
Same as Migi Hicho no Kamae, except on the opposite side.





*
Jumonji no Kamae (十文字之構) “Ten Character Posture”*
Bring your arms in front of your chest crossed, and your hands in Shikankens. Their should be approximately a fist distance between your chest and both your hands. Your toes should be just slightly pointed outward.









*Taihenjutsu Muto Dori Gata*

Taihenjutsu Muto Dori Gata (体変術無刀捕型) “Body Changing Art Without Blade Capture Examples”


*Hira no Kamae (平之構) “Flat Posture”*

Uke is in Daijodan no Kamae with a Katana. Tori is in Hira (Shizen) no Kamae.

Uke performs Kara Take Wari. Step back with either foot and perform Sokuho/Yoko Kaiten Ukemi, making sure to maintain eye contact with uke. Come up into Ichimonji no Kamae.

Repeat both sides.

Zanshin.

*Ichimonji no Kamae (一文字之構) “One Character Posture”*

Uke is in Daijodan no Kamae with a Katana. Tori is in Hidari Ichimonji no Kamae.

Uke performs Kara Take Wari. Perform Kaiten 90 degrees to your right. The uke will turn to perform second cut. Leap in kneeling on your left and perform right boshiken to butsumetsu or suigetsu, covering head with left hand.

Repeat both sides.

Zanshin.

*umonji no Kamae (十文字之構) “Ten Character Posture”*

Uke is in Daijodan no Kamae with a Katana. Tori is in Hira (Shizen) no Kamae.

Uke performs Kara Take Wari. Perform zenpo tobi rotating body clockwise to avoid cut, such that you’re facing the blade. Cover the uke kote with your left hand. Perform tobi rotating counter clockwise and strike uke left uko with omote shuto. Perform koho naname tobi away from uke into Ichimonji no kamae.

Repeat both sides.

Zanshin.

Kihon Happo (基本八法) "Fundamental Eight Ways"

Moto Gata (基型) “Basic Examples” / Koshi Kihon Sanpo (骨指基本算法) “Bone Finger Fundamental Three Ways”

*Ichimonji no Kamae Kihon Gata (一文字之構本型) “One Character Posture Basic Example”*

The uke and tori begin in hidari ichimonji no kamae.

Lower your guard to create opening to your face. Uke performs a migi oitsuki. Step 45 degrees offline with right foot, and receive with left Jodan Uke. Bring right hand up moving into doko no kamae, step in with right and perform migi omote shuto to uke’s (hidari) uko. Return to ichimonji no kamae. Repeat on other side.

Zanshin.

*Hicho no Kamae Kihon Gata (飛鳥之構本型) “Crane Posture Basic Example”*

The uke begins in hidari ichimonji no kamae. The tori begins in hidari hicho no kamae.

Raise your guard to create opening to butsumetsu. The uke performs a migi oitsuki. Drop hips as you perform hidari gedan uke nagashi. With left (raised foot) kick uke in butsumetsu. Bring your left foot from the kick down just in front of your right foot. Step in with right foot and perform migi ura shuto to uke’s (migi) uko. Return to Ichimonji no kamae. Repeat on other side.

Zanshin.

*Jumonji no Kamae Kihon Gata (十文字之構本型) “Ten Character Posture Basic Example”*

The uke begins in hidari ichimonji no kamae. The tori begins in jumonji no kamae.

Lower your gaurd to create opening to the face. The uke will perform a migi oitsuki. Step back with your right foot 45 degrees to fall offline and out of distance from the punch. Perform hidari jodan daken uke, using your hips and torso for power. With the same hand, push forwards with your left hip and deliver a boshiken into uke’s migi butsumetsu. Shift your weight back and move into ichimonji no kamae. Then step back into Jumonji no kamae. Repeat on other side. Repeat on other side.

Zanshin.

Torite Kihon Gata (基本型) “Taking Hand Fundamental Examples”

*Omote Kote Gyaku (表小手逆) “Outer Wrist Reverse”*

The uke grabs your right lapel with their left hand.

Gently cover the knuckles of the uke’s left hand with the palm of your right. Using the fingers of your right hand, grab the meet of the uke’s left hand just below their thumb. As you do this position your thumb to the kyusho Omote Gyaku. Grab the same lapel under the uke’s left hand with your left hand.

In one powerful motion, drop your hips pushing the uke’s left hand up with your right as you pull your lapel from their hand. Bring your left hand up to your right to secure your grip on the uke’s hand. It’s important that their arm is straight and hand above the elbow.

Step back with your right foot, twist your hips while applying the wrist lock downward throwing the uke over. Return to Kamae.

Repeat on both sides.

Zanshin.

*Omote Gyaku Ken Sabaki (表逆拳捌) “Outer Reverse Fist Movement”*

The uke grabs your right lapel with their left hand.

Gently cover the knuckles of the uke’s left hand with the palm of your right.

The uke performs a Migi Gyaku Tsuki. Fall back to your right 45 degrees and receive with either an Uke Nagashi or Daken Uke. It’s important that your left foot be in front of the uke’s left foot to prevent a kick to the groin.

Using the fingers of your right hand, grab the meet of the uke’s left hand just below their thumb. As you do this position your thumb to the kyusho Omote Gyaku (the pinky bone on the back of the hand). Grab the same lapel under the uke’s left hand with your left hand.

In one powerful motion, drop your hips pushing the uke’s left hand up with your right as you pull your lapel from their hand. Bring your left hand up to your right to secure your grip on the uke’s hand. It’s important that their arm is straight and hand above the shoulder.

Step back with your right foot, twist your hips while applying the wrist lock downward throwing the uke over. Return to Kamae.

Repeat on both sides.

Zanshin.

*Ura Kote Gyaku (裏小手逆) “Inner Wrist Reverse”*

The uke grabs your right lapel with their left hand.

Gently cover the knuckles of the uke’s left hand with the palm of your right.

Whether the uke performs a Migi Gyaku Tsuki or not, the movement is the same: Fall back to your right 45 degrees and receive with either an Uke Nagashi or Daken Uke. It’s important that your left foot be in front of the uke’s left foot to prevent a kick to the groin.

Reach your left hand over and grab the uke’s left hand such that your thumb is pressing into the kyusho Ura Gyaku (also known as and your fingers are gripping the pinky side of the hand (your palm is against the back of the uke’s hand).

Drop your hips pushing the uke’s left hand up with both your hands. It’s important that their arm is straight and hand above the shoulder.

Step back with your left foot, twist your hips applying the wrist lock downward throwing the uke over. Return to Kamae.

Repeat on both sides.

Zanshin.

*Musha Dori (武者捕) “Warrior Capture”*

The uke grabs your right sleeve with their left hand.

Fall back to your right 45 degrees into Ichimonji no Kamae. In this moment, bring your right hand over the uke’s elbow – scooping and bending it. Step with your right foot just beyond the uke’s left foot and turn counter clockwise (your shoulders should be in alignment with uke’s and both facing the same direction). Clasp your palms together to secure the uke’s arm. Pushing hips out and up, swing your arms forward to destroy the uke’s shoulder. Use a right Kagiken into the uke’s leg, and then kneel on the same knee.

Repeat on both sides.

Zanshin.

*Muso Dori (武双捕) “Warrior Twin Capture”*

The uke grabs your right sleeve with their left hand.

Fall back to your right 45 degrees into Ichimonji no Kamae. In this moment, bring your right hand under the uke’s elbow – scooping trapping it against your chest. Secure the uke’s elbow with your left hand. Step with your left foot to the left such that you are perpendicular to the uke’s centerline. The uke should be bending forward and their left elbow turned upward. Drop your hips and apply pressure through the elbow to drive the uke’s head into the ground.

Repeat both sides.

Zanshin.

*Jo Ryaku no Maki*

Jō Ryaku no Maki (上略之巻) “First Volume Scroll”

*Kokū (虚空) “False Void”*

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Fall back with your right foot and perform uke nagashi with left hand striking uke’s right hoshi. Immediately take small step with left foot to flatten body facing uke, and twist hips counter-clockwise performing right omote shuto into same kyusho – this is to break the uke’s elbow. This position invites the uke to kick towards the midsection or suzu.

Uke brings their left foot in and performs right sokugyakuken. Twist hips clockwise and pull right leg back to avoid kick. Using your left leg kick uke’s right leg before it lands. Immediately strike uke’s butsumetsu with boshiken – knocking them away.

Zanshin.

*Renyo (輦輿) “Palanquin”*

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Fall back with your left foot and perform uke nagashi with right hand – deflecting uke’s tsuki with your wrist. Immediately take small step with right foot to flatten body facing uke. This position invites the uke to kick towards the midsection or suzu.

Uke brings their left foot in and performs right sokugyakuken. Twist hips clockwise and pull right leg back to avoid kick. Using your left leg, draw out the uke’s kick so that they feel they’re going to slip. The uke will grab you with their right hand. Step in with your right foot and perform migi ura shuto into uke’s uko. Reach over with right hand and begin to perform ura gyaku. As the uke resists this, step back with left foot turning hips counter-clockwise and allow hand to rotate into omote gyaku. Perform a right sokuyakuken to uke’s suigetsu in this motion. Still rotating body, nage uke with omote gyaku in a large circular motion. Finish by lifting uke onto their left side and stomp wakitsubo with your left leg.

Zanshin.

*Danshu (彈手) “Shooting Hand”*

Uke grabs tori’s right sleeve with their left hand.

Step diagonally off line with your right foot back. Slide your right hand underneath uke’s left elbow, and applying light pressure with your palm, rotating elbow upwards and inward. Uke performs right tsuki. Increase pressure on uke’s left elbow to help throw uke’s right tsuki off-course, and daken uke with left hand in an upward direction. Shift your weight to the right pulling the uke into a

Using left hand, perform muso dori and kick to the outside of uke’s left knee with your right foot collapsing them to the ground on to their back breaking the arm.. Finish by performing a sokugyakuken into uke’s butsumetsu.

Zanshin.

*Danshi (彈指) “Shooting Finger”*

Uke grabs tori’s right lapel with their left hand.

Lightly cover the uke’s left hand with your right, and begin to remove into omote gyaku. Uke performs right tsuki into men. Fall back offline 45 degrees to the right and perform left jodan daken uke. Rebound from the uke nagashi and perform left boshiken down into kimon.

Perform right sokugyakuken into butsumetsu. Immediately kneel back on the right knee without placing foot down and fully apply omote gyaku dropping uke onto their back. Stomp on wakitsubo with your left heel to finish.

Zanshin.


*Sakanagare (逆流) “Reverse Flow”*

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Fall offline with left foot and receive with right jodan uke. Capture uke’s right hand with your left hand to prepare to perform omote gyaku. The uke performs a right sokuyakuken. Step back with your right foot and turn clockwise, receiving uke’s kick with a right sokkiken – this is like hicho no kamae.

Turn counter-clockwise towards uke while taking uke’s right hand upwards into omote gyaku with your left hand. Uke will respond by attempting to strike suigetsu with left fudoken. Sink your hips and receive tsuki with right gedan daken uke, striking at the kyusho nagare with a shuto. Step in slightly with right foot and perform right ura shuto into uke’s uko. Step with your left foot, rotate hips counter-clockwise and perform omote gyaku on uke’s left hand. Lift uke onto their right side, and finish with a stomp into wakitsubo.

Zanshin

*Keō (梟鷗) “Settling Seagull”*

Uke grabs both the tori’s lapels.

In one motion, sink your hips as you hit with fudoken/shikanken to the back of uke’s hands in a downward motion. At the same time, use the inner part of your right foot to strike upwards into uke’s suzu. The uke will let go and recover to throw a right jodan tsuki. Uke nagashi tsuki with your left hand and apply pressure to their arm with your forearm to throw off their balance. Strike uke’s kasumi with a right ura shuto before finishing with a sokuyakuken to butsumetsu.

Zanshin.

*Hanebi (跳火) “Leaping Fire”*

Uke grabs tori’s collar from behind with their right hand.

Reach back and cover uke’s right hand with your right hand. The uke will perform a right sokuyakuken into tori’s back. Step forward with right foot and turn hips counter-clockwise while sinking to face uke. Receive to inside of uke’s keri with gedan uke nagashi. Using your left hand shuto down through uke’s right grabbing arm at hoshi while taking uke’s right hand with your right hand into hon gyaku. Apply pressure to wrist to break uke’s balance. Step back with your left foot while perform omote gyaku turning hips counter-clockwise and perform right sokuyakuken into uke’s suigetsu. Continue to turn hips and throw with omote gyaku in large circular motion.

Zanshin.

*Ketō (闕倒) “Watchtower Topple”*

Both uke and tori begin in Hidari Ichimonji no Kamae.

Uke performs right sokuyakuken. Step left with left foot and kick with instep to right leg to deflect. Uke responds by pulling their kicking leg back, and performs right tsuki to suigetsu. Respond by moving 45 degrees back right and receiving tsuki with jodan uke – immediately capture uke’s right kote. Perform shakoken into uke menbu (without stepping) – driving both the face and uke’s right arm back to take balance. While still holding face with right shakoken, perform right sokuyakuken into uke suigetsu to knock them over.

Zanshin.

*Yubi Kudaki (指砕) “Finger Break”*

Uke reaches with right hand and grabs tori’s left shoulder from behind.

Step back with left foot and turn hips counter-clockwise to face uke. In same motion perform right shikanken into uke’s yubi. Reach over with right hand and take uke’s right grabbing hand off by grabbing pinky and rotating hand clockwise. Step forward slightly with left foot and perform hon gyaku on uke’s right hand.

Zanshin.

*Sakketsu (殺締) “Killing Clamp”*

Uke grabs tori from behind around arms.

Sink pushing hips back assuming hoko no kamae, striking uke’s hips back with your hips. Step 90 degrees to your left and twist hips clockwise to face the uke. In this movement, strike uke’s gorin using a right fudoken in a swinging motion – striking with the back of the knuckles. Swing your right hand up underneath the uke’s left arm and trap in preparation of ganseki nage. Turn hips counter- clockwise and nage uke forward.

Zanshin.

*Teiken (蹄拳) “Hoof Fist”*

Uke reaches in under tori’s arms in attempt to perform a “full-nelson” on tori.

Immediately sink hips and bring in elbows to trap uke’s arms at your side. Grab fingers of uke’s hand and crush them. Position thumbs on back of uke’s hands and perform ura gyaku on both hands taking them away from your body and up over your right shoulder. In this moment, step back with your left foot and slam your hips into uke’s left hip. As you do this, twist your hips counter-clockwise and in large circular motion nage the uke forward, maintaining control of their left hand. After throwing the uke, lift him onto his right side using his left arm, and stomp wakitsubo with your right heel.

Zanshin.

Chū Ryaku no Maki (中略之巻) “Middle Volume Scroll”

*Ujaku (烏鵲) “Magpie”*

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Step offline with left foot and perform uke nagashi with right hand striking uke’s right hoshi – immediately grab uke’s right sleeve at elbow. Uke performs right sokuyakuken. Twist hips clockwise and strike leg upwards using your right foot’s instep and draw kick outward – this will cause the uke’s balance to come forward. As your right foot plants, step in with your left foot in front of the uke’s right foot and strike uke’s right butsumetsu with a left ****o/boshi ken. As you strike, lift uke’s right arm with your right hand – allow your hand to slide from the elbow and catch uke’s hand in omotegyaku.

Step underneath the arm and continue to turn clockwise as you move under uke’s arm. Use your left hand to cover any potential attacks in this moment and maintain close distance as you move in front of the uke. Secure uke’s hand with both hands and perform katate nage. Pull up on hand to bring uke onto their side, and finish with a right stomp to uke’s wakitsubo.

Zanshin.

*Seitō (鯖倒) “Mackerel Topple”*

Both uke and tori begin in hidari Ichimonji no Kamae.

Uke performs right tsuki. Move offline to the right and receive with left uke nagashi to hoshi. The uke then performs a right sokuyakuken. Pull left leg back and perform right fudoken into kaku. The uke responds by performing left low tsuki to suigetsu. Respond by moving to the right, and perform left gedan uke nagashi to nagare and then catch kote.

Perform ****enken into uke’s eyes. Grab the uke’s left shoulder with right hand, and perform right sokugyakuken into uke’s suigetsu. Immediately kneel back on right and take the uke down onto his back. Stand up and stomp on wakitsubo.

Zanshin

*Dashin (拏振) “Shake and Pull”*

Tori is in hidari Ichimonji no Kamae. Uke is in migi Seigan no Kamae holding a shoto.

The uke performs a tsuki to suigetsu. Pivot on the left foot to the left and lightly catch uke kote with left hand. Perform right shuto onto top of the uke hand to drop the shoto. Immediately take uke te into omote gyaku with both hands.

The uke responds by kicking (with either foot). Respond by receiving with right keri turning the uke away. Immediately pull left leg back and finish omote gyaku.

Finish with right sokuyakuken into wakitsubo.

Zanshin.

*Korai (虎落) “Tiger Fall”*

Tori begins in hidari ichimonji no kamae. Uke begins in Daijodan no kamae with shoto in right hand.

Uke performs kesa giri. Step back with left foot offline at 45 degrees and catch uke’s right wrist with your right hand. The uke will respond by recoiling arm. Move in with arm and bring hand upwards. Step underneath the arm using your left foot, using left hand to cover from potential attack. Rotate hips clockwise – keep close contact to uke to prevent from attack. Continue to move beyond uke’s left hip and perform katate nage – keeping uke’s right hand at your right hip and controlling the thumb. Finish by stomping on uke’s head with your left foot.

Zanshin.

*Hōsen (蜂先) “Bee Tip”*

Tori begins in hidari ichimonji no kamae. Uke begins in Daijodan no kamae with shoto in right hand.

Uke performs kiri sage. Fall offline back 45 degrees to the left stepping back with left foot – dodging the kiri. Uke responds by preparing for migi kubi giri. In this moment, perform sokugyakuken to uke right elbow knocking the shoto out of uke’s hand. As your foot lands, perform sanshitenken (pinky and thumb held together, middle finger hits uke throat notch with index and ring finger striking above collar bone on both sides) to knock the uke down.

Finish by leaping onto the uke, driving knee into uke’s chest.

Zanshin.

*Kō (橰) “Well Bucket”*

Tori begins in hidari ichimonji no kamae. Uke begins in Daijodan no kamae with shoto in right hand.

_Sono Ichi_
Uke performs kesa giri. Step slightly offline outside to the left with left foot and lightly catch uke’s right hand with your right hand. Uke attempts to kick you with right sokuyakuken. While still controlling uke’s right hand, drop your hips low and scoop uke’s kick with right arm and shoulder. Step in with right and tsuki towards uke’s menbu while holding their right hand to nage them backwards.

Zanshin.

_Sono Ni_
Uke performs kesa giri. Step slightly offline inside to the right with right foot and lightly catch uke’s right hand with your left hand. Uke attempts to kick you with right sokuyakuken. While still controlling uke’s right hand, drop your hips low and scoop uke’s kick with right arm and shoulder. Step in with right and tsuki towards uke’s menbu to nage them backwards.

Zanshin.

*Shien (獅猿) “Lion Monkey”*

Tori is in hira (shizen) no kamae. Uke is behind tori holding a shoto.

Uke thrusts into the back of the tori. Shift offline to the left to evade strike, lifting right arm to evade tsuki. Lightly cover uke’s right wrist with right hand. The uke responds by kicking with right foot. Responds by pivoting clockwise on your right foot lifting the uke’s right hand into ura gyaku and kick with left foot into uke’s kobura.

Allow the hand to fall into omote gyaku as you capture with your left hand. Kneel back on left knee and throw uke down using omote gyaku.

Stand up and perform right keri into wakitsubo.

*Hōraku (崩落) “Cave-In”*

Tori is in hira (shizen) no kamae. Uke is behind tori holding a shoto.

Uke thrusts into the back of the tori. Shift offline to the left to evade strike, lifting right arm to evade tsuki. Hug uke’s arm to trap it, and strike down onto uke’s hand using left happaken to knock the shoto out.

Take the uke’s hand into take ori, and pivot on right foot clockwise. Strike with right ura shuto to uke kasumi. Stomp on uke’s right toki with right foot as you grab uke’s shoulder with right hand. Kneel back on on right and pull the shoulder down to drive the uke face down into the ground in a manner similar to o’gyaku.

Stand up and stomp on uke’s head.

Zanshin.

*Ge Ryaku no Maki*

Ge Ryaku no Maki (下略之巻) “Last Volume Scroll”

*Shunū (隼雄) “Falcon Excellence”*

Tori begins in hidari Ichimonji no kamae. Uke is in migi bobi no kamae with a katana.

As the uke begins to draw the katana, step in deep with left foot and stop the draw with your left palm on the butt of the handle. The uke will respond by stepping back with left foot to retreat. In this moment step in with right and perform right boshiken to shinchu. Step back with right foot and take the sword handle with your right hand, drawing it out – blade side up and tip pointed at uke. Support the back of the blade with your left hand or forearm.

Zanshin.

*Shunsoku (隼足) “Falcon Feet”*

Tori begins in hidari Ichimonji no kamae. Uke is in migi bobi no kamae with a katana.

As the uke begins to draw the katana, step in deep with left foot and stop the draw with your left palm on the butt of the handle. The uke will respond by striking downward onto your left hand with a fudoken – in a similar manner to a gedan uke. As they do this, drop the sword handle low to avoid the strike as you step in with your right foot and grab the end of the saya with your right hand.

Move your left hand to the uke’s left hand and extend their arm outward – anchoring it against your left hip. Step back with your left foot and rotate counter clockwise, barring uke left arm with the saya in your right hand, and drive uke into the ground. Finish with a sokugyakuken to wakitsubo.

Zanshin.

*Ichigeki (一撃) “One Blow”*

Tori is in hidari Ichimonji no kamae. Uke is in Bobi no Kamae with katana.

The uke draws the katana. If necessary leap slightly back to avoid being cut. The uke then raise the katana into Daijodan no Kamae, stepping back with right foot. In this moment, leap in with left foot forward and grab uke’s right elbow with your left – pressing your thumb into hoshi, and pressing the arm up and back. Perform right boshiken into uke’s left kimon – making the uke slump and further lose balance. Perform right sokuyakuken into uke suigetsu to knock them down. Finish in Ichimonji no Kamae.

Zanshin.

*Kaisoku (魁足) “Superior Feet”*

Tori is in hidari Ichimonji no kamae. Uke is in Daijodan no kamae.

The uke cuts down. Step to the left to avoid cut, and perform right sokuyakuken into uke hands to make them drop the katana.

The uke will immediately reach to draw his shoto. Depending on the timing, either land from the kick onto his right foot, or step forward with right foot on the top of uke’s right foot. Cover his right (drawing) arm with your left hand, and perform right ura shuto into uke right kasumi. Take uke’s right hand with your left hand in omote gyaku – releasing his grip from the shoto, and reach up underneath his right arm with your right arm and grab is right shoulder.

Take the omote gyaku outward with your left – extending his arm out and back. Step in with your left and perform osoto nage with your right foot, dropping the uke onto their back. Pin the uke.

Zanshin.

*Kōryaku (掬掠) “Scoop Up and Throw Over”*

Tori begins in hidari Ichimonji no kamae. Uke is in Daijodan no kamae.

The uke cuts down. Pivot on your left foot counterclockwise 90 degrees, covering the uke hands with you left. Twist your hips counterclockwise and reach with right and grab uke’s right elbow. Apply wringing pressure to the right arm – pushing on the uke’s right hand and pulling the uke’s right elbow. Bring uke’s arm to your chest and drop sliding right leg through (tachi nagare) dropping the uke onto the floor next to you head first. Rise back to your feet and return to Ichimonji no kamae.

Zanshin.

*Iaifū (意合封) “Draw Sealing”*

The tori is hidari Ichimonji no kamae. Uke is in Bobi no kamae with katana.

The uke performs drawing cut to do. Leap back to avoid, maintaining kamae. The uke raises the katana to daijodan. Step in deep with your right foot and left fist above your head to protect from the uke’s arms. Perform right boshiken into uke kimon, then imediately kick with right sokuyakuken into uke suigetsu to knock them down. Return to Ichimonji no kamae.

Zanshin.

*Chingan (沈雁) “Wild Goose”*

Tori begins in Ichimonji no kamae. Uke is in Chudan no kamae.

Move to Han no Hanitsu no Kamae; your body is square, with the heel of your left foot in alingment with the toes of your right, resembling a runers stance. The fingers of the middle and ring finger are curled in touching the thumb. The index and pinky finger are extended outwards. The hands are aligned in your midsection.

The uke performs tsuki. Step forward 45 degrees with left foot sinking hips deep. Make sure your shoulders rotate clockwise so that your hands point to the uke’s hands. With your left hand on top and right hand underneath, cup the uke’s hands. Stepping with your right foot raising the uke’s hands so that you are in front of them. Pivot on your right foot counter-clockwise circling your left foot back and throw uke in a manner similar to katata nage (but using both hands). Finish with sokugyakuken to uke wakitsubo, then return to Ichimonji no kamae.

Zanshin.

*Fūmo (風盂) “Big Wind”*

Tori begins in Ichimonji no kamae. Uke is in Chudan no kamae.

The uke performs tsuki. Step forward 45 degrees with left foot sinking hips deep. With right hand, press index and right finger just underneath the tsuba – with a finger on each side – to hook the sword. With your left, perform ura shuto into the bridge of the nose (this will loosen the uke’s grip). Then grab the handle of the sword with left hand. Step 90 degrees with left foot and powerfully twist hips counter clockwise to cut the uke across suigetsu with their own sword.

Zanshin.



*Koto Ryu History*


Koto Ryu was formalized into a Ryu-Ha by the 15th Soke of Gyokko Ryu Koshijutsu, Sakagami Taro Kunishige, hence much of the overlap with between the kihon (“basics”) of Gyokko and Koto Ryu. Although the precise origins are unknown, it is believed to have been imported from either China or Korea.


1. Sakagami Taro Kunishige -Tembun era (1532)

2. Sakagami (Bando) Minamoto Masahide -Tembun era (1532)

3. Sogyokkan Ritsushi -Tembun era (1532)

4. Toda Sakyo Ishinsai -Tembun era (1532)

5. Momochi Sandayu I -Tembun era (1532) (died 1581)

6. Momochi Sandayu II -Tensho era (1573)

7. Momochi Tanba Yasumitsu -Bunroku era (1595)

8. Momochi Taro Saemon -Genna era (1615)

9. Toda Seiryu Nobutsuna -Kwanyei era (1624)

10. Toda Fudo Nobuchika -Manji era (1658)

11. Toda Kangoro Nobuyasu -Tenna era (1681)

12. Toda Eisaburo Nobumasa -Hoyei era (1704)

13. Toda Shingoro Masayoshi -Shotoku era (1711)

14. Toda Daigoro Masayoshi -Gembun era(1736)

15. Toda Daisaburo Chikashige -Bunkwa era (1804)

16. Toda Shinryuken Masamitsu (Kobe) 1824-1908

17. Takamatsu Toshitsugu Uoh (Nara) Taisho (1909) 1887-1972

18. Hatsumi Masaaki (Noda) Showa (1968) 1931-

Goho no Kurai Dori (五法位取) "Five Ways Position Capture"

*Migi Seigan no Kamae (右正眼之構) “Right Correct Eye Posture”*

The feet are approximately apart 1.5 times your shoulder width. The right foot is pointed forward, while the rear is pointed back 45 degrees, forming an L shape. The hips are low and the weight is evenly distributed. Your right hand is extended in a shuto, with the fingers pointed directly at the uke’s eyes and elbow slightly bent. You left hand is also in a shuto, and is covering your right kyusho uko. Your left shoulder is pulled back, making you very bladed.

*Hidari Seigan no Kamae (左正眼之構) “Left Correct Eye Posture”*

Same as Migi Seigan no Kamae, except on the opposite side.







*Hira Ichimonji no Kamae (平一文字之構) “Flat Line Posture”*

From Migi Seigan no Kamae, step forward with your left to bring yourself flat to your opponent. Your feet should still be 1.5 times shoulder width, but the toes are pointed slightly outward. Extend your left hand to your side so that it’s mirroring your right. Both your hands should be at the same height as your eyes, and should be barely visible at the edge of your peripheral vision.









*Hōkō no Kamae (抱囲之構) “Encircling Posture”*

From Hira Ichimonji no Kamae, bring your hands above your eyes palm facing downwards and slightly inwards, as if to shade your vision from the sun. You elbows should be slightly bent and open. Whichever foot is slightly forward, the hand should match.







*Bōbi no Kamae (防備之構) “Defensive Posture”*

From Migi Seigan no kamae, bring your left hand down, make a fist, and place it into your left hip pocket. This would be the position you would have if you were maintaining a grip on the saya of a katana or shoto.






*Shoden Gata*

Shoden Gata (初伝型) “Beginning Examples”

*Yokutō (抒投) “Scoop Topple”*

Uke grabs tori in kumiuchi.

Step back with your left foot into subtle yoko aruki and rotate your hips counter-clockwise while sinking. In the same motion, pull down on uke’s right sleeve with your left hand while performing a boshiken into uke’s uko. Once the uke’s balance has been broken, immediately perform a right foot sokugyakuken into uke’s gorin. As you plant your right foot, give a right jodan tsuki into uke’s menbu – knocking them away.

Zanshin.

*Ōgyaku (押虚) “Push Void”*

Uke grabs tori in kumiuchi.

Cover uke right hand with left. Uke attempts to perform koshinage. As uke does this, pull your right leg back and pull your right hand back as you drop your hips to prevent the throw. Using left hand, grab uke shichibatsu or butsumetsu and drive in thumb. The uke responds by stepping back. In this moment step in performing right fudoken to kimon or boshiken to butsumetsu.

Zanshin.

*Kōyoku (抗抒) “Wing Talon”*

Both uke and tori begin in hidari Seigan no Kamae.

Uke performs a migi jodan tsuki. In one motion, step directly to the right and turn hips counter-clockwise. In this moment, deflect uke’s tsuki with left jodan uke nagashi while performing a right fudoken into uke’s kimon/suigetsu. Step in with left foot and bring left arm up under uke’s right arm to prepare for ganseki nage. Cover uke’s left hand with your right hand in case they attack. Twist hips clockwise and nage uke.

Zanshin.

*****ō (拡倒) “Tree Topple”*

Uke grabs lapels cross handed as if to perform a hon jime.

Happaken elbows upwards to hyper extend arm. Step back with your left foot into subtle yoko aruki and rotate hips while sinking in counter-clockwise direction. Simultaneously, take uke’s right hand with your left hand into omote gyaku. In the same motion perform a right handed koppoken into uke’s left kasumi. This will knock the uke down. It’s important that the hips twisting, the gyaku, and the koppoken all happen naturally at the same time.

Zanshin.

*Hosoku (捕捉) “Capture”*

Uke grabs tori’s right lapel with their left hand and performs gyaku tsuki with right hand.

Cover uke’s grab with your right hand. Step back with your left behind your right foot (subtle yoko aruki). While twisting your hips counter-clockwise, perform uke nagashi with left hand and perform boshiken into uke’s left koe with your right hand – this causes the uke’s upperbody to come forward. Step in with the left foot and perform kikakuken into menbu of uke.

Zanshin

*Hōteki (放擲) “Scoop Throw”*

Uke grabs tori’s right lapel with their left hand and performs fudoken tsuki with right hand.

Cover uke’s grab with your right hand. Step back with your left behind your right foot (subtle yoko aruki). While twisting your hips counter-clockwise, perform uke nagashi with left hand. Slide your right hand to uke’s elbow as you bring your left hand to uke’s left wrist. Turn elbow and wrist outward while applying upward pressure. Shift balance forward to push uke’s balance onto their right side. Step in with your right and turn your hips counter-clockwise while sinking as you place uke’s left arm on your right shoulder. Raise your hips as you continue to turn to break the arm and throw the uke.

Zanshin.

*Shatō (斜倒) “Diagonal Topple”*

Uke grabs tori’s right lapel with their left hand and performs fudoken tsuki with right hand.

Without moving feet, sink and twist hips counter-clockwise. In the same movement, uke nagashi with the left hand while performing boshiken with the right hand into uke’s yugasumi (behind ear) – this will make the uke lean to their left (your right). Immediately kick upward into uke’s suzu to knock them down.

Zanshin.

*Ketō (掛倒) “Hook Topple”*

Uke grabs both tori’s lapels.

Step back with right foot and perform shikanken powerfully down on the back of uke’s hands dropping your hips to release the grab. Immediately perform right sokuyakuken into gorin knocking the uke down.

Zanshin.

*Sakugeki (搾撃) “Wrenching Attack”*

Uke attempts to grab lapels with both hands.

From shizen, move 90 degrees to the left to dodge grab. In the same movement cover with left hand while delivering boshiken to ayagasumi with right hand. Using left leg, perform kagiken keri to outside of uke’s right leg. Make sure to step through using your foot to ride the uke’s knee to the ground. This will turn the uke away from you as they go down to their knee.

Zanshin

*Tangeki (擔撃) “Bearing Intensity”*

Both uke and tori begin in right hand forward seigan no kamae.

Uke performs hidari, then migi tsuki. From seigan no kamae, uke nagashi first punch with right hand stepping back at 45 degrees with left foot. Avoid second tsuki by sinking 45 degrees to the left and fudoken uke’s right hoshi upwards. Immediately assume hoko no kamae with hands at their eyebrow level giving the intention of attacking with your hands. Immediately perform sokuyakuken into gorin knocking them downward.

Zanshin.

*Batsugi (拔技) “Removal Technique”*

Uke grabs tori’s left lapel with their right hand.

Twist hips counter-clockwise keeping feet planted. In the same movement, pinch uke’s right hand on the ring finger just below the largest knuckle using your left hand, and strike uke’s cheek with a boshiken with your right hand. Remove grabbing hand and apply omote gyaku – kneeling directly back on your left knee.

Zanshin.

*Settō (折倒) “Break Topple”*

Uke grabs your left lapel with their right hand.

Sink twisting your hips clockwise. Simultaneously perform a right omote shuto into hoshi of uke’s left grabbing arm in an upward direction – this breaks their balance and opens up their side. Immediately twist hips clockwise and perform left boshiken into uke’s butsumetsu to knock them down.

Zanshin

*Shihaku (指拍) “Finger Beat”*

Both uke and tori begin in right side forward Seigan no Kamae.

Uke performs migi, then hidari tsuki. Uke nagashi first tsuki by falling offline 45 degrees to the right and uke nagashi using left hand. This first uke nagashi is using far distance so that your fudoken strikes the inside of the uke’s kote. Uke nagashi second tsuki by moving offline to the left and striking uke’s hoshi. The distance on this uke nagashi is about medium distance. Immediately perform soku yaku ken with right foot. If the uke senses this in time, they will perform gedan uke nagashi attempting to catch the leg. Pull your leg back before the uke can catch it, and instead use your forward momentum to perform a right fudoken tsuki into suigetsu.

Zanshin.

*Kyogi (拒技) “Reject Technique”*

Both uke and tori begin in right side forward seigan no kamae.

Uke performs hidari, then migi tsuki. Uke nagashi to the inside at 45 degrees, first the right and then to the left. Step in with your right foot and stomp on top of uke’s right foot on the kyusho toki. Immediately perform gyaku tsuki into “en” which is just above suigetsu to knock uke down.

Zanshin.

*Kakkō (括拷) “Tie and Hit”*

Uke performs left then right jodan tsuki.

Uke nagashi inside of left jodan tsuki by stepping back 45 degrees on your left foot and using right hand. Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Use a right kagi ken to strike just above uke’s right knee on the inside thigh to push the uke’s hips backs while rotating them as it brings their shoulders forward. As you plant your right foot, reach in with a right shako ken into uke’s throat notch. Drive your fingers down inward as you sink your hips to collapse uke to the ground.

Zanshin.

*Uranami (浦波) “Inner Waves”*

Both uke and tori begin in migi seigan no kamae.

Uke performs left then right jodan tsuki. Uke nagashi inside of left jodan tsuki by stepping back 45 degrees on your left foot and using right hand. Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Use a right kagi ken to strike inward on uke’s left yaku (located on the back of the calf) collapsing them to their knee. As you plant foot, strike on both sides of the uke’s uko with koppo ken and apply itami jime downward, driving the uke into the ground.

Zanshin.

*Tenchi (天地) “Heaven Earth”*

Both uke and tori begin in migi seigan no kamae.

Uke performs left then right jodan tsuki. Uke nagashi inside of left jodan tsuki by stepping back 45 degrees on your left foot and using right hand. Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using left hand. Perform right sokugyakuken (using instep) to suzu to bring uke shoulders forward. As right foot lands, perform right shako ken into uke face with thumb driving into jinchu and fingers into the eyes.

Zanshin.

*Katamaki (片巻) “Single Wrap”*

Both uke and tori begin in hidari seigan no kamae.

Uke performs right then left jodan tsuki.Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Uke nagashi inside of left jodan tsuki by bringing your right foot in front of the uke’s left foot and shielding with your right hand – this should feel more like intercepting the attack rather than dodging it. Immediately catch uke’s left arm with your right arm in musha dori, sinking your hips. Step back with your right foot. In one movement, sink to your right knee as you strike with a left boshi ken to uke’s ura kimon or butsumetsu.

Zanshin.

*Chuden Gata*

Chūden Gata (中伝型) “Intermediate Examples

*Hida (飛打) “Flying Strike”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right ura shuto to uke’s right kasumi, causing the uke to fall towards their left side. As the uke begins to fall, place ball of right foot on uke’s suzu slightly on uke’s left side and shift weight onto your right foot riding it to the ground as uke falls, crushing it as they land on the ground.

Zanshin.

*Hisaku (飛搾) “Flying Squeeze”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right boshi ken into uke left uko. Immediately grab both uke’s shoulders and perform tobi, wrapping legs around uke’s waist locking ankles and perform dou shime. Allow your upper body drop down while still holding the waist with your legs, and capture the uke’s legs. Allow your lower body to slide down as you pull on uke’s legs to drop the uke onto their back.

Wrap your right arm around uke’s left leg so that your wrist is on the back of the uke’s calf. Lean back and apply upward pressure, causing pain. The uke will respond by sitting up; perform right sokuyakuken into the uke menbu. Perform koho kaiten ukemi.

Zanshin.

*Hicho (飛鳥) “Crane”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. Strike uke’s face with a right hand shako ken. Sink to take uke’s balance forward. Immediately perform fudoza tobi and kick uke using right sokugyakuken to gorin, landing back on your feet.

Zanshin.

*Hitō (飛倒) “Flying Topple”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right sanshitenken into uke left kimon, causing the uke to slump. Immediately perform tobi and perform soku yaku ken with both legs into uke’s wakitsubo, and perform koho kaiten ukemi.

Zanshin.

*Kappi (括飛) “Enclosing Leap”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right ura shuto to uke’s right uko. As the uke begins to fall, immediately leap turning hips clockwise and switching feet and perform left ura shuto to uke’s left kasumi.

Zanshin.

*Monpi (捫飛) “Grasping Leap”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right shako ken into uke left butsumetsu, turning hand and driving thumb downward into kyusho, making uke slump to their left. Immediately perform tobi and right keri across uke into their right koe, landing on your feet.

Zanshin.

*Suitō (夊倒) “Opposite Topple”*

Both uke and tori begin in hidari seigan no kamae.

Uke performs right then left jodan tsuki.Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Uke nagashi inside of left tsuki by stepping back 45 degrees on your left foot and using your right hand. Immediately perform koho tobi maintaining kamae. Uke responds with zenpo tobi to your front, and grabs around your neck with left arm and grabbing your left arm with their right in preparation for kubi nage (neck throw). Drop your hips to stall throw. In rapid succession, perform migi koppo ken into uke right butsumetsu, then uke’s right side of the face.

Using your right hand, grab uke’s left kote and bring it over to your front in a manner similar to ura gyaku, but bar his elbow underneath your right elbow. Step in front of uke’s left leg with your right. Step back with your left, and rotate hips counterclockwise to nage the uke.

Zanshin.

*Gohi (鼠飛) “Mouse Flying”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right san ****en ken into uke’s throat notch, driving them into the ground.

Zanshin.

*Hehi (撇飛) “Lashing Leap”*

Uke and tori approach each other.

When uke is in range, tori performs tobi turning counterclockwise leading with right foot and performs right shako ken (nitoken) into uke’s throat notch. Sink hips to bring uke’s balance forward, then immediately leap turning clockwise and perform shako ken into uke’s cheek.

Zanshin.

*Tekigaeshi (擲返) “Tossing Return”*

Uke and tori approach each other.

When uke is in range, tori performs tobi turning counterclockwise leading with right foot and performs right shako ken underneath uke’s right armpit, driving your thumb upwards into wakitsubo, causing the uke to lean to their right. Perform tobi and sokugyakuken with right foot into uke’s right sai, landing with both feet.

Zanshin

*Kōtō (喉倒) “Throat Topple”*

Uke approaches you on your right side.

When the uke is in range, leap in with your right foot forward and left foot backward turning your hips counter-clockwise. Strike into uke’s throat notch with shako ken. Sink hips while pressing downward with your right hand to bring uke’s balance forward and downward. Immediately strike uke’s gorin/suzu with a right sokugyakuken.

Zanshin.

*Kakuhi (攫飛) “Flying Leap”*

Uke grabs tori’s left lapel with their right hand.

Grab uke’s right sleeve with your left hand and step in with your right foot and strike using the palm into the uke’s ayagasumi – make sure to leave your hand here. Step back with your left behind your right foot (subtle yoko aruki). While twisting your hips counter-clockwise, pull on the sleeve with your left hand while pushing the uke’s chin back with your right, causing the uke to turn. While continuing to rotate counter-clockwise and use your right foot to perform a koho keri into the uke’s left sai, tossing them to the ground.

Zanshin.

*Okuden Gata*

Okuden Gata (奥伝型) “Advanced Examples”

*Santō (攅当) “Gathering Hit”*

Uke leaps in and grabs tori in kumiuchi.

Uke turns counter-clockwise and attempts to throw with uchi mata nage. As he turns counter-clockwise and raises his leg to kick, allow your shoulders to turn counter-clockwise with the throw and perform tsui ken (fudo ken used as a “hammer fist”) into kaku of uke’s right leg – striking it downwards. It’s important to perform this before the uke makes contact with the foot. Raise your hips and strike powerfully with your left forearm into uke’s right arm driving it away from you – you can also use a left fudo ken to hoshi to accomplish this. Leap back and away from uke.

Zanshin.

*Santō (攅倒) “Gathering Topple”*

Tori begins in migi seigan no kamae. Uke begins in hidari seigan no kamae with shoto at right hip.

Uke performs a right chudan tsuki. Step back with the left foot and pivot on right foot clockwise between 45 and 90 degrees. Cover uke’s right kote with your left palm. Using a right ****en ken, strike uke’s right hoshi – damaging the arm and causing it to recoil. Catch uke’s right kote with your left hand and perform right fudo ken into back of uke’s te, or a ura shuto in an upwards direction – causing the uke to drop the shoto. Reach with right hand and perform ura gyaku on uke’s right hand, this will twist the uke counter-clockwise. Perform a left sokugyakuken into uke’s left inner-sai and using your bodyweight, drive uke downwards by apply pressure with ura gyaku – then bring it forwards to drop them to the floor.

Zanshin.

*Kotō (虎倒) “Tiger Topple”*

Tori begins in hidari seigan no kamae. Uke begins in daijodan no kamae with shoto in right hand.

Uke performs kesa giri. Leap slightly offline, and rotate hips counter-clockwise while performing a left omote shuto into uke’s right hoshi – driving arm away and causing uke to drop shoto. Leap in to the right in front of the uke, turning hips clockwise. Perform happa ken with both hands to both uke’s yabba. Perform keri to uke’s suzu, then leap back into seigan no kamae.

Zanshin.

*Shinsen (神剪) “Spirit Cut”*

Uke grabs tori’s lapels in a manner to attempt to apply gyaku jime.

Immediately step back with left foot behind right (subtle yoko aruki). Sink hips and allow body to rotate counter-clockwise. Before uke can apply choke, bring chin down and to the left to prevent choke, and happa ken uke’s ears. Shift your weight forwards and perform kikaku ken into uke’s shinchu – knocking them backwards.

Zanshin.

*Konpi (梱飛) “Surrounding Leap”*

Tori begins in migi seigan no kamae.

The uke approaches. When they are within range – approximately 5 feet (1.5 meters) leap forward rotating clockwise so that your left foot is near the uke’s foot and your right foot is on a 45 degree angle to the rear. As you land, perform a left omote shuto into Uke’s right uko. Immediately leap away into seigan no kamae.

Zanshin.

*Sōsetsu (抓摺) “Grasping Slide”*

Both tori and uke are in shizen.

The uke attempts to grab your lapels. Step forward with your right foot sinking your hips and perform shako ken to both sides of uke’s butsumetsu and lifting the uke onto his toes. Rotate counter clockwise and powerfully kneel between uke’s legs with your left leg and throw uke over your left side, turning your hands in a clockwise manner similar to turning a wheel.

Zanshin.

*Sōtō (抓倒) “Grasping Topple”*

Uke approaches tori.

When uke is in range, leap in leading with your left foot and grab uke’s shoulders while driving your thumb into uke’s raimon – the uke will sink their hips from the pain. Step slight with your right and perform kikaku ken into uke’s jinchu. Place your right foot into uke’s left koe/koshitsubo and drop sliding left leg through uke’s leg, and perform tomoe nage. Hold uke’s shoulders and follow their momentum with a koho kaiten ukemi so that you land on the uke’s chest. From here perform jime until uke submits.

Zanshin.

*Kōki (扣鬼) “Arresting a Demon”*

Uke and tori approach eachother.

When uke is in range, tori performs tobi turning counterclockwise leading with right foot and performs right happa ken to uke’s left yabba. Immediately square hips to uke, and perform tobi striking uke suigestu with both feet. As you land, drop into koho kaiten ukemi, and come up into seigan no kamae.

Zanshin.

*Kimon (鬼門) “Demon Gate”*

Uke approaches tori.

When uke is in range, step in with right foot and reach under uke armpit with shako ken, driving thumb into kimon – drive the thumb in and down to make the uke slump. With your left hand, grab the uke’s right elbow. Step 90 degrees to the left with the left foot, and step behind uke’s right leg with your right. Kneel down on your left and bring down uke in such a manner that their right arm breaks on your right leg.*

Zanshin.

*For training purposes, bring the uke’s body over your leg in a tripping manner.

*Ransetsu (乱雪) “Chaotic Snow”*

Uke approaches tori.

When uke is in range, leap in leading with your right foot and using right hand grab up underneath uke’s left armpit, driving thumb in and down into kimon – the uke will sink their hips from the pain. Use your left hand to cover from any potential attack. Step in between uke’s legs with your left foot, and shoot your right leg through and descend, pulling the uke down by his armpit in a similar manner to tachi nagare (this is technically called tate nagare when performed in this manner).

Zanshin.

*Ura Kimon (裏鬼門) “Inner Demon Gate”*

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right shako ken into uke’s left ura kimon, grabbing the flesh. Sink hips ripping with right shako ken downward to bring uke’s balance downward and forward. Immediately leap performing soku gyaku ken into uke’s same kyusho.

Zanshin.

Hekitō (Sabaki) Gata (壁刀型捌型) “Wall Blade Movement Examples”

*Sokuboku (蹴朴) “Simple Kick”*

The tori begins in migi Seigan no Kamae, the uke in daijodan no kamae.

The uke begins to cut. Pivot on your right foot clockwise sliding your left foot to the left. Shift your balance on to your left foot and perform sokugyakuken into uke hands to knock the sword out. Your right foot will land inside the uke’s right foot. Step with your left forward, twisting hips counterclockwise and strike menbu with shako ken. Return to seigan no kamae.

Zanshin.

*Bokuhen (朴返) “Simple Reply”*

The tori begins in hira ichimonji no kamae. The uke is Chudan no Kamae.

The uke steps in with the left and performs do giri. Leap back and to the left, rotating your body counter clockwise (your left foot should be in front pointing at the uke, your right foot to the rear). The uke raises the sword to Daijodan no Kamae in preparation to cut. Step deep in with your right foot, keeping your hips low. Grab uke’s left eblow with your right hand – pressing your thumb into hoshi – and push the arm back to take balance. Perform right sokugyakuken into uke suigetsu to knock them down. Finish in Seigan no Kamae.

Zanshin.

*Damara (打扣) “Hitting Peace”*

Tori is in Hidari Hoko no Kamae. Uke is in Chudan no Kamae.

The uke tsuki to suigetsu. Perform Yoko Aruki 45 degrees forward to the left by stepping with your right foot. Allow your hips to rotate clockwise, and cover the uke right hand with your left. As you uncross stepping with your left, perform fudo ken into the back of uke right hand. Then take uke right hand with both hands into omote gyaku. Kneel backwards on left knee – rotating counter clockwise 90 degrees – and complete omote gyaku. Finish in Seigan no Kamae.

Zanshin.

*Shuriki (手力) “Hand Power”*

Tori begins in migi Bobi no Kamae. Uke is in Daijodan no Kamae.

The uke cuts down. Pivot on your right foot clockwise approx 135 degrees, your left foot moving behind you to your left in a circular motion. With right hand, perform a right ura shuto to uke right forearm (nagare). Perform this shuto so that it brushes down the arm with your palm, ending by striking the base of the thumb to break. Rotate your hips counter clockwise as you step with your right foot (as if to walk past the uke on their right side) and perform an omote shuto to the eyes or bridge of the nose. Finish in seigan no kamae.

Zanshin.

*Kibo (跂望) “Standing on Tip Toes Hoping”*

The tori begins in hidari seigan no kamae. The uke is in Daijodan no Kamae.
The uke cuts. Pivot on your left foot 45-90 degrees counterclockwise, your right foot moving in a circular manner. Cover the uke hands – especially the right – with your left hand. Shift your weight to your left foot, turning your hips counter clockwise, and perform fudo ken into uke right jakkin inside their arm – this will make them let go of the sword. Perform right sokuyakuken into uke suigetsu to knock them down. Finish in Seigan no Kamae.

Zanshin.

*Batsu Yo (跋扈) “Domination”*

Tori is in migi Bobi no Kamae. Uke is in Chudan no Kamae.

Uke steps with left and begins to perform do giri. Step deeply with left, – making sure that you end positioned at the uke hands as they continue the arc of the cut. While doing this, make a fist with your right hand, and strike to uke shinchu knocking them over. If timed correctly, this will feel like the uke is running into the punch. Finish in Seigan no kamae.

Zanshin.

*Seki Ryoku (跖力) “Powerful Step”*

The tori is in hidari Hoko no Kamae, uke in Daijodan no Kamae.

Once the uke commits to the cut, step in deep with your right foot kneeling on your left knee, and strike into uke suigetsu with right fudo ken. Make sure to keep your left arm above your head to protect from uke’s arms, knocking them to the ground. Finish in Seigan no Kamae.

Zanshin.

*Kuahi (跨飛) “Straddling Leap”*

The tori begins hira ichimonji no kamae, uke in seigan no kamae.

The uke performs a tsuki. Respond by pulling your right leg back to dodge. The uke responds by stepping with left foot and attempting dou giri. Immediately drop to the floor underneath the cut (your hands should be near the uke’s left foot. Once the blade has passed, leap vertically and perform soku yaku ken with both feet into uke suigetsu. Land performing koho kaiten ukemi returning to seigan no kamae.

Zanshin.

Hope someone finds this useful.


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## watching

Nightingale said:


> there are lots of different kinds of kenpo out there... which one is yours?


Jeff Speakman kenpo 5.0. But I've also trained in Parker kenpo.


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