Kenpo Training Manual by Gregory Lawton

CIVIL PROTECTION TRAINING PROGRAM

Dr. Gregory T. Lawton, Your Training Instructor The Kenpo combat and mixed martial arts program is taught by Dr. Gregory Lawton, 9th Degree Black Belt in Kosho Ryu Kenpo Jujitsu. Dr. Lawton was awarded the title of Yudansha Taigu in 2009. Dr. Lawton is a licensed Chiropractor and Naprapath, as well as a national board-certified Naturopath. In addition, he is national board and state certified in acupuncture. He has trained in the martial arts for over 60 years. Dr. Lawton studied Chinese martial arts with the revered Chinese teacher Professor Huo Chi-Kwang and Dr. Lawton was a Kenpo student of Master Thomas Connor who studied with the founder of American Kenpo Karate, Ed Parker.

VELOCITY MARTIAL ARTS While Velocity Martial Arts (VMA) training is based upon the historical traditions of Kosho Ryu Kenpo Jujitsu VMA has adopted the modern technical aspects of combat martial arts. The focus and intent of VMA is to engage and destroy the opponent or attacker in one second or less. Central Concepts of this Presentation 1. 2. 3. 4.

Spontaneous Continual Motion. Speed and Relaxation Become Effortless Power. Strike to Grapple and Grapple to Strike. Four Dimensional Attacks â&#x20AC;&#x201C; Attack both upper and lower body at the same time. Combine striking and grappling in attack sequence.

As the martial arts evolve and grow it is necessary to adjust our fighting techniques to meet the challenges presented by new techniques, methods and fighters. This manual is designed to accompany our Velocity Martial Art face to face, hand to hand, combat training program. Consider this material your class notes.

Our Mission Our mission through the martial arts is to uplift and to empower humanity towards peace. Our Creed "Honor the Source of all knowledge and serve the common good." Our Philosophy A body without spirit is a living corpse. Just as the body needs a soul, our training needs heart and spirit. Without pure values, high ethics, and a code of conduct we are without true worth.

Velocity Martial Arts (VMA)

VMA is built upon the combat theories and techniques of the

traditional martial arts, as well as, the scientific principles of Kenpo jujitsu/karate as were developed by Mitose, Chow, and Parker. VMA takes these traditional approaches to combat and applies the modern training and fighting techniques found in military and police combat and tactical training, boxing, wrestling and other reality-based fighting systems.

Combat Martial Art Training Manual for Civil Protection

BASIC PRINCIPLES OF KENPO COMBAT MARTIAL ARTS A few basic principles of kenpo: 1. The intention of the joint attack in Kenpo is not to control - but to break. 2. We grapple to strike and strike to grapple. 3. We are never static, we move and change tactics constantly. 4. Remember SAC - Our tactics are stable, accurate, and cruel = SAC 5. When faced with multiple attackers do not grapple a. Take control of the fight and move fast. b. Take the fight to them, make them react – do not allow them to plan or initiate. c. Make every technique count – execute technique to destroy. d. Attempt to keep the opponents in a line (one behind the other) so that you can deal with them one at a time. 6. When the situation is real and presents a threat to life each technique must be a decisive action that at the very least maims. 7. It you think that it is “gonna happen”, make it happen. Initiate the attack. Against kickers 1. We rush and jam them up 2. We take them down 3. We break their joints Dog tactics (Crushing Chokes) – 1. Shake and bake – violent shaking of the head and neck while the opponent is in a neck lock or choke. 2. Whip and rip – swing the body in one direction while holding and locking the neck and snapping it in another direction. 3. Crush and rush a. side head lock and run b. front rush to throat and run the opponent backward

BASIC COMBAT MARTIAL ART SKILL SET CHECK LIST Rules Act, do not React If You Can Strike and Stay On Your Feet, Do That Strike to Grapple and Grapple to Strike Move Continuously, and Never Clinch Whenever Possible, Attack the Back Overcome Force with Power Never Backup, Circle Fight from the Edges, Never Straight On Donâ&#x20AC;&#x2122;t Waste Energy on Half Measures, Be Decisive In CMA There Are No Rules In Michigan You Have the Right to Pre-emptive Lethal Force Michigan Self Defense Law - Michigan Public Act 309 of 2006 If you feel that your, or someone else's, wellbeing or life is being threatened you may take defensive or lethal preemptive action.

SKILL SET CHECK LIST Stances – o Standard o Horse (Ma Bo) o Cat o Crouch Defense – o Blocks (cross, upward, downward, inward, and outward) o Parry o Deflect o Slip o Covering o Movement o Faking Breakfalls – o Forward roll o Back-fall o Side-fall(s) o Forward fall Punches – o Jab o Cross o Hook o Upper Cut o Overhand o Traveling Punches o Backfist o Hammerfist o Clothesline (not a punch but effective) Hand strikes – o Finger gouge(s) o Fishhooks o Claw o Dragon’s mouth o Grab o Chop o Ridge-hand o Palm o Slaps

Elbow strikes – o Horizontal o Vertical o Rising o Downward o Oblique Knee strikes – o Rising o Dropping o Oblique Head butts – With side of head Shoulder strikes – o Shoulder stroke Kicks – o Roundhouse o Side o Hook o Front o Snap o Cut o Thrust o Rear kick o Foot/heel stomp Striking Combinations – All of the above strikes can be worked into combinations and combined with takedowns and joint locks and breaks. Takedowns o Single leg o Double leg o Lifting o Lift and twist o Spin around o Head control o Straight back rush o Twist and drop o Leg trap to takedown o Leg sweeps o Arm/shoulder control to takedown o Body-lock/throw o Hip throw 10

o Foot step throw Counters to takedowns – o Elbow block o Push off o Sprawl o Evade/jump o Spin o Knee or kick o Anvil o Head/face push or thrust Escapes – (Counter to grab) o Turn against thumb o Push to face Joint Locks/Breaks – Do not grapple, instead break and/or hook. o Finger o Wrist o Elbow o Shoulder o Knee o Ankle o Jaw o Neck o Spine o Arm bar o Key lock o Kimura o Triangle o Omaplata o Americana Chokes – o Rear naked o Guillotine o Side o Radial Crush o Shaking Ground – (We do not want to be here) o Cover up (Turtle) o Kick from ground o Guard Top Bottom 11

Half guard o Mount Side mount o Bridge o Leg sweeps o Knee strikes/sweeps (add all punches/strikes/kicks/locks/breaks/chokes to ground fighting) Specialized techniques â&#x20AC;&#x201C; o Nerve o Gland o Air o Blood o Gouge/poke o Grind o Crush

WALKING THE BODY CLOSE QUARTER FIGHTING SEQUENCE 1 – Elbow strike to forearm 2 – Upward Elbow strike to elbow 3 – Elbow strike to axillary 4 – Finger-flick to face/eyes 5 – Palm strike (or grab) to groin 6 – Elbow strike to axillary area (armpit) 7 – Elbow strike to kidney/ribs 8 – Palm strike to occipital ridge 9 – Elbow strike to elbow 10 – Elbow strike to axillary area (armpit) 11 – Elbow strike to solar plexus 12 – Groin strike (grab) 13 – Back fist (finger-flick) to face 14 – Double palm strike to chest

10 DEADLY BLOWS TO THE HEAD Head, Face and Neck Attack Sequence: Attacks 1 through 5 Thumb to the eye (Right and Left) Zen finger to the eye (Right and Left) Dragons mouth to the throat Attacks 6 through 10 4 – Upward palm strike to Right TMJ 5 – Upward palm strike to Left TMJ 6 – Knife edge to Right SCM 8 - Knife edge to Left SCM 9 – Palm strike to nose or chin Variation: Add eye, nose, and mouth soft tissue hooks to the sequence.

NINE DEADLY KICKS TO THE BODY Instructions: (Keep all leg attacks below the groin, except for the knee strikes.) Right leg 1. Snap kick to groin 2. Knife edge side kick to inside of knee Left leg – 3. Snap kick to front of knee 4. Scoop kick sweep to outside of knee, lower leg, or ankle Right leg – 5. Right knee to groin, abdomen or head 6. Left knee to groin, abdomen or head Right leg – 7. Cut kick to leg Left leg – 8. Cut kick to leg Right leg – 9. Front thrust kick to knee or thigh (push off)

KENPO FILIPINO ESCRIMA AND KALI TRAINING SETS (DRILLS) 12 Point Drill Sequence Beginning: Right side forward and end with the left side forward. Once the left side is forward and technique #12 has been completed start the drill again with the left side forward, and so on. Single Stick Drill Set â&#x20AC;&#x201C; 1. Right head strike 2. Left head strike 3. 4.

Right elbow strike Left elbow Strike

Straight thrust to throat

6. 7.

Overhand thrust to supra-clavicular fossa, right Overhand thrust to supra-clavicular fossa, left

Looping strike to head

9. Right shoulder strike 10. Left shoulder strike 11. Step through downward strike to head 12. Upward thrust to throat

KENPO KNIFE FORM 1. Two Tigers Retreat to be Ready – (Horizontal Slash). a. Check and control the wrist b. Throat slash and reverse neck cut c. Hilt strike to face 2. Monkey Elbow – (Descending Cut). Reverse stab to abdomen, drop and cut. 3. Golden Dragons Plays in Water – (Vertical Slash). a. Check parry opponents’ right hand and reverse slash right wrist/forearm. b. Check parry opponents left hand and reverse slash left wrist/forearm. c. Reverse stab to neck (Ice Pick). 4. Two Dragons Receive Pearls a. Block and trap opponents kick (right leg). b. Execute figure 8 slash from the right groin to the left groin and back to the right groin. c. Straight abdominal stab. 5. Falling branches – (Right and Left Under Arm Cut) a. Check parry right punch and slash under the arm b. Check parry left punch and slash under the arm c. Slash to left side of neck 6. Embracing Death – a. Step to rear of opponent from the left side. b. Grab head or hair and slash the right side of the neck from the rear 7. Impending Doom – (Kidney Attack). a. Straight stab to the kidney, stab and twist 8. Push. 9. Drawing the Bow (Fighting Horse Stance). a. Left Parry. b. Draw the Bow.

DOUBLE AND SINGLE LEG TAKEDOWN COUNTERS Techniques: 1. Control the distance – Evade. a. Circle away to the opponent’s non-dominant side if possible. b. Back away and stay low. 2. Jump back and upward. a. Used against low takedown attempts. b. Kick opponent if possible 3. Push off head or shoulders and side step to kick or knee. a. Pivot off of upper body into kick or knee. 4. Strikes. a. Knee to head. b. Kick to head. 5. Block. a. Extend arm and push on head. b. Place elbow in crook of neck, elbow jam c. Head shove with both hands 6. Elbow hook to head and neck to choke. 7. Sprawl. a. Push away. b. Choke. 8. Take the opponents momentum and roll back into choke. Kenpo Covers – 1. 2. 3. 4. 4.

Never stay on the ground. If taken down get up and kick. If you can’t get up punch, kick, break, or hook from the ground. If pushed down roll, turn and kick. After every Kenpo technique (see next section), cover and attack (usually a kick).

KENPO TECHNIQUES There are dozens of Kenpo techniques and combinations of attacks, and variations of the Kenpo techniques. Joint breaking techniques are common to Kenpo, which in its original form was a brutal form of jujitsu. An actual dislocation is classified as a joint break and involves a grade 2 or 3 sprain/strain to a joint causing pain and joint damage that is less than a full bone break in kung fu this is called “Breaking against the joint” and basically destroys the soft tissue structures that hold the joint together. Dog tactics (Crushing Chokes) – 1. Shake and bake – violent shaking of the head and neck while the opponent is in a neck lock or choke. 2. Whip and rip – swing the body in one direction while holding and locking the neck and snapping it in another direction. 3. Crush and rush a. side head lock and run. b. front rush to throat and run the opponent backward. Cross of Death – Counter to front grab. 1. 2. 3. 4.

Check hand. Side elbow break, or break against the joint. Clear. a. Cut kick. b. Take-down.

Broken Gift – Counter to single hand grab. 1. 2. 3. 4. 5.

Grab hand. Elbow break, or break against the joint. Clear and control. Head strike (palm). Take-down.

Heavenly Ascent – Counter to front grab/choke. 1. 2. 3. 4.

Anvil. Head grab. Leaping knee. Guillotine.

Crashing Wings – Counter to grappling attempt at a rear naked choke or bear hug. (high or low rear grappling attack)

A. Rear Naked Choke Counter Steps by the numbers 1. Raise hands parry and turn into opponent. 2. High Pat on Horse. Options 1. Takedown. 2. Striking combinations. B. Bear Hug or low grab Counter Steps by the numbers 1. Drop low use elbows and hands to stop attempt at grip. 2. Obscure Elbow to throat or face. 3. Step around and sweep to takedown. Options 1. Takedown. 2. Striking combinations. Grasp of Death – (Combat Form) Counter to the side head lock. 1. 2. 3. 4. 5.

Tuck chin and turn head into opponent. Attack groin or Alarm Point. Counter the opponent’s wrist and break the elbow. Knee to the face. Kick to the head.

Kimono Grab - Counter to front grab. 1. 2. 3. 4. 5. 6.

Grab the opponent’s wrist, twist and/or pin the arm(s). Break the elbow(s). Elbow to head. Backfist or finger flick to face. Rear kick to groin. Step away and cover.

Eagles Beak – Counter to shoulder grab or push. 1. 2. 3. 4.

Pin the opponent’s hand. Break the elbow. Palm strike to head. Break the knee.

Variation:

1. Pin the opponent’s hand. 2. Executive elbow lock control to take-down 3. Snap kick to head and face. Dancer – Counter to attempted bear hug. 1. 2. 3. 4. 5.

Bend forward. Step between the opponent’s legs or cat around the opponent’s leg. Execute groin attack. Palm attack to face to take-down. Foot stomp.

Dancing Ram – Frontal attack. 1. 2. 3. 4.

Elbow to neck. Kenpo guillotine with throat crush. Shoulder lock to dislocation. Throw/drop and kick.

Jumping Monkey – Counter to the Dancing Ram. 1. Forward hip thrust to flying scissors to twisting sacrifice throw. Cyclone – Counter to a frontal attack. 1. 2. 3. 4. 5.

Defect the punch or high frontal attack. Palm strike to the opponent’s face. Move to rear and execute the near naked choke to a throat crush. Drop opponent. Thrust kick to back of the opponent’s head or spine.

ESSAYâ&#x20AC;&#x2122;S AND ARTICLES

DEFINITIONS OF KENPO – A KILLING ART “Never enter into kumite without the intention to kill, and the willing acceptance of your death. But do neither, do not kill and do not die. But if by circumstance you are faced with the choice of killing or dying, know this, it is better to die not having taken a life than to die a murderer.” Introduction To understand kenpo, its definition and history, I recommend studying the work of Al Tracy and the original textbook by James M. Mitose entitled, What is Self Defense? In Al Tracy’s work on the history of kenpo, he cites information gleaned from The Textbook of Ju-jutsu as Practiced in Japan by S.K. Uyenishi and on his website, he publishes the original kenpo book (What is Self Defense? by James M. Mitose). The significance of these books in relation to the history and development of kenpo are explained by the kenpo historian. If not for Al Tracy, students of kenpo would simply not have access to much of the rich and highly informative history that has been preserved. In some circles, a debate exists as to which spelling (kenpo or kempo) is correct, and whether it is primarily a Chinese or a Japanese martial art. In truth, kenpo/kempo is both Chinese and Japanese and in this article, both spellings may be used interchangeably. As both a student and teacher of kenpo, I do not view kenpo as a style of martial art but rather as a group of techniques collectively and historically referred to as “fist law.” Definitions of Kenpo – A Killing Art Many articles on kenpo begin with definitions and explanations of the origin of the words (kenpo and kempo); however, in this article, the intention is to examine a more global definition of kenpo as a combat martial art originally resulting from techniques applied to the traditional battlefield. Later, these were refined into a 24

killing and maiming combat art long before its modern transformation into a selfdefense martial art. S.K. Uyenishi, author of The Textbook of Ju-Jutsu as Practiced in Japan, wrote his book during the early-1900’s and in it offers some brief insights into the historical representation of kenpo. Uyenishi was a well-established senior jujitsu master and teacher and his teaching positions included: Riku-gun yo-nan gako (The Military College for Officers),Tai-iku-kai (The Imperial Military College of Physical Training), Shi-han-gako (The School of Instructors), Jun sa kio-shun sho (The Police Training School), and all government schools in Osaka, Japan. Uyenishi was a pioneer of jujitsu in the UK, and in his book, he demonstrates various techniques such as break-falls, throws, and locks. His father, Kichibe Uyenishi, was also a great jujitsu master and teacher who lived and practiced martial arts during the 1800’s in Japan. At the time, Japan was in turbulence and in 1867, the Tokugawa Shogunate was officially ended, after nearly 700 years of Shogun rule. For kenpo practitioners, the main interest in Uyenishi’s textbook is in his references to kenpo. In his research, Al Tracy provides the following quoted content from Uyenishi’s textbook. One of the styles alluded to, known as the Kempo, which may be roughly described as a method of killing people, possessed many points of resemblance to Ju-jutsu but was totally different in practice, being a system of self-defence against sudden attack with intent to kill and replying thereto in kind. It was certainly more closely related to jujutsu than is boxing (even under the old Prize Ring rules) or le savate to wrestling. It might perhaps be best compared to that very strenuous old Greek Physical Contest, which was known as the Pancration. Bythe-way, I may here remark on the possible derivation of the old English phrase "Kempery man" and the Anglo-Saxon cempa, signifying "a warrior," from the Japanese Kempo. This is a point which should not be without interest to etymologists, and particularly to those who follow the late Professor Max Muller in his theory of the IndoGermanic origin of the Anglo-Saxon Race. Kempo, of course, was a system of attack and defence which branched off from ju-jutsu into the paths of strenuous endeavor, but, apart from the fact that it was less scientific than, ju-jutsu, it was declared an illegal practice when the sanctity of human life was recognised under the new regime. The opening sentence of Uyenishi’s description of kenpo provides insight into one of its earliest definitions and shows that in the 1800’s and early-1900’s kenpo was recognized as a killing method (i.e., “may be roughly described as a method of killing people…” and “against sudden attack with intent to kill…”). Al Tracy goes on to clarify that, in 1868 the new Japanese government eliminated two traditions: first they eliminated the Samurai as a class and outlawed their wearing of swords and at the same time kempo was declared an illegal practice when the sanctity of human life was recognized under the new regime. 25

Uyenishi’s definition of kenpo as a killing art predates James M. Mitose’s book (What is Self Defense?; 1947), which presented kenpo in the post-shogun and post-samurai period as a form of personal self defense. In the introduction to his book, Mitose defines kenpo as, The main purpose is to give faith to man and reform him into a new man. One should hate the wrongdoings of a criminal but not the man himself, for no matter how bad a person, man was created by GOD, so if it is possible, one must try not to injure or take any life. Try not to use any dangerous tricks, unless it is really necessary. Do not oppose force with force, but allow force to defeat itself.” This definition sharply deviates from the historical and well-recognized reputation of kenpo as being an art of killing. In any case, since Japan and the US were just ending World War II, it should not be surprising that a social and moral receptivity existed for redefining certain martial arts in a more peaceful and spiritual light. Mitose’s definitions and explanations of kenpo reflect similar spiritual and philosophical concepts found in the writings of the aikido founder, Morihei Ueshiba, who was a contemporary of Mitose’s. Just as the killing art of Japanese aiki jujitsu was being reformed into the peaceful martial art to be known as aikido, kenpo, in the hands of Mitose, also experienced a similar reformation. Incidently, in 1970, Mitose received an honorary tenth dan in aikido at the direction of Morihei Ueshiba. The written content of that award follows: Certificate of Testimony and Appreciation To: Dr. James M. Mitose As you are the president of the Japanese-American (International) society for the promotion of goodwill, friendship, and social welfare, you have contributed to the happiness of mankind and world peace, and especially for the handicapped people. You have rendered services for many years to develop the rightful ways of the Japanese martial arts of Aikido. For your distinguished service, I hereby bestow upon you an honorary tenth degree or Ju-dan. I respect and appreciate your faithful and unselfish service. March 22, 1970 Koichi Tohei, 10th degree, Ju-dan Head instructor of Aikido General Headquarters (signed and stamped with seal)

Some controversy exists regarding the award, with Koichi Tohei later alleging that he was reluctant to issue the certificate and only did so at the direction of Morihei Ueshiba. If true, then Koichi Tohei or Morihei Ueshiba, or both, falsified their statements in the award with the words, “I respect and appreciate your faithful and unselfish service.” This would have been no small matter of honor, considering the reputation and position of these two noted founders of aikido. Kenpo practitioners and teachers, Brian Zarnett and Paul Seaby, describe its development: 26

On the surface, Kempo's uniqueness lies in its comprehensive and diversified means of unarmed defense. Shaolin Kempo Karate proper is both an armed and unarmed system of combat incorporating applications in varying appearances and method. On an external level, Kempo is a no holds barred fighting system of offensive and defensive methods with equal emphasis of striking techniques with the hands and feet; immobilization and controls; projections and takedowns; as well as weaponry and various spiritual and healing arts. Shaolin Kempo is a streetwise defensive art that does not restrict its students in methodology. Clawing hands evolve into slashing feet. Cunning joint locks turn into devastating hip throws. Evasive blocks turn into breath closing chokes. As we examine the early history of the martial arts, as practiced in war, and during mankind’s history when empty-handed combat and hand weapons (knives, spears, and swords) was all that was available to combatants, we can readily understand that devastating attacks to the throat to crush the airway and cause death, or techniques for destroying the joints and connective tissues to maim the opponent, were the ideas and techniques behind many contemporary martial artists (i.e., controlled sport chokes and joint locks). To further examine the development of the fighting arts from their early martial history to contemporary sports, we can see the evolution of these arts from a focus on killing and maiming towards a universal philosophy for preserving and protecting life (or to providing recreational and leisure satisfaction by the diminishing of true martial technique and the adoption of sports rules and regulations). From early history and traditional warfare, to the martial spiritual transformation that was seen in the 1970’s and 1980’s, to the development of recreational sports and martial arts competition in the 1990’s and the present, the martial arts have undergone many changes with reference to our understanding of the fighting arts. Nevertheless, the fundamental techniques and applications involving the physics of killing and maiming have remained unchanged. From the breaking of a joint or use of lethal techniques to the airway, arteries, or nerve centers, the techniques have remained constant, despite contemporary beliefs that may have been manipulated by martial art gurus, movies, or promoters of recreational and sports martial art competitions. Martial art, whether called kenpo, hapkido, aikido, taekwondo, shorin ryu, or any other name, or as part of any religion or philosophy, or as developed by any individual, is fundamentally the manual application of principles, laws, and forces of physical mechanics against the functional biomechanics of the human body. Many traditional martial artists claim their superiority in style of martial art, and in their particular philosophy or theory, or specific techniques. The kenpo community is no exception. Many kenpo practitioners believe in the inherent superiority of their kenpo techniques based on its history. Members of the kenpo 27

community commonly believe that the only effective kenpo has been derived from a group of techniques that came from early kenpo founders (i.e., James M. Mitose, William K.S. Chow, and Edmund K. Parker). Nevertheless, many experienced martial artists, especially those involved in combat or mixed martial arts, recognize that the most effective principles of the martial arts are based on effective training and conditioning methods, both physical and mental, as well as fighting techniques that are based on correct physical mechanics and physics. Regardless of its origin, whether esoteric or modern fighting science, any technique is either correct or incorrect because of its alignment with physical mechanics that involve inertia, momentum, rotation, acceleration, velocity, mass, and the generation of kinetic energy, as well as mechanical forces such as leverage, torque, shearing, traction, and compression. The three most commonly used and most effective martial art attacks are to the throat and larynx, eyes, and joints: 1) Attacks to the throat and larynx Hand, forearm, elbow or foot attacks to the throat area and larynx are techniques commonly used in many martial arts. While blunt trauma resulting in damage to the throat is rare in the general public, intentional trauma executed by a trained martial artist is easily executed and can be devastating against an opponent. Blunt trauma injuries to the throat can lead to problems with aspiration, speech, or respiration and such attacks can cause rapid asphyxiation. When blunt throat trauma is the result of a car accident, for example, four of ten victims of blunt laryngeal trauma are likely to die at the scene of the accident. 2) Attacks to the eyes Eye gouging techniques are commonly used in most martial arts. Kenpo attacks to the eyes include the use of finger pokes, finger hooks, and thumb compression to the globe of the eye. Blunt trauma can be a significant cause of visual loss, and occurs when the eye is struck with a finger, fist, or other solid object. Such injuries will damage the eye, with sudden compression and indentation of the eye globe at the moment of impact. Bleeding from the eye may also occur as a result of blunt trauma. Some martial art techniques attempt to compress and crush the eye globe and others are designed to scrape the outer surface of the eye to cause corneal abrasion, which is very painful can immediately compromise vision. 3) Attacks to the joints Catastrophic joint dislocation (a â&#x20AC;&#x153;joint breakâ&#x20AC;?) is a trauma to a joint that results in the tearing or detachment of tendons and ligaments and a partial or complete separation of the connective tissue structures of the joint. Joint breaks are 28

common kenpo techniques and frequently involve hyper-extending, pulling, and twisting joints until the connective tissues tears and separates. Hinge, ball and socket, and gliding joints such as the elbow, knee, shoulder, fingers, toes, and wrist are especially susceptible to joint breaking techniques. The kenpo system of martial arts consists of over 400 techniques with variations. The techniques are taught to kenpo students from white belt to black belt, and they comprise a series of choreographed responses to various attacks, from punches to grappling. To evaluate kenpo attacks solely on individual strikes, joint locks, or the likelihood that a technique will inflict lethal or maiming damage, and if we sort the techniques according to their lethality, we would find that the physical damage reputed to result from single strikes or techniques is not supported by common sparring or combat experience, or our understanding of physical mechanics and body physiology. The human body is amazingly durable and plastic, and many of the attacks, strikes, and techniques of martial arts are not directed to the most vulnerable areas of the body. For example, the yellow belt kenpo technique called, Alternating Maces, has blocking and covering movements, as well as a thrust punch to the sternum or solar plexus and a back fist attack to the temple. While any of these strikes could cause discomfort or unconsciousness, in full contact or mixed martial arts, these strikes frequently fail to achieve either result and they are certainly not reliably lethal or maiming techniques. Martial art techniques that involve strikes to major muscle areas of the arms, legs, torso, or abdomen, to the ribs, or to the bony cranium of the head frequently fail to achieve their intended purpose. In the early history of the martial arts, including kenpo and aiki jujitsu, joint breaking, involving partial or complete destruction of the joint capsule or complex, was a common technique and a physical objective in fighting. During the late-1800â&#x20AC;&#x2122;s and through the 1900â&#x20AC;&#x2122;s, these techniques lost favor and became relegated to joint pressure locks in the quasi-spiritual/philosophical martial arts (i.e., aikido and sport martial arts like judo). The original kenpo joint attacks involved complete or partial destruction of the joint, and the mental and physical execution of a joint pressure lock was significantly different from a joint break. When the intention is to destroy a joint through maximum trauma (connective tissue tearing, detachment, and dislocation), the joint attack is executed more like a strike moving through the joint, rather than a grasping or holding pressure on the joint. Many, if not most, grappling techniques are defeated by the simplest and most basic martial art technique, breaking the fingers of the grappler. As another example of the progression of kenpo away from its original roots as a killing and maiming art, is the chokes and counters to chokes that are routinely taught in kenpo schools. The development of quasi-spiritual/philosophical and sports approaches to the martial arts have led many martial artists to 29

misunderstand the proper application of a choke. The original intention and purpose of a choke is to crush the airway and larynx and to cause arterial damage, collapse, and swelling, which cuts off blood flow to the brain, in one sudden and forceful movement. On the battlefield, the intention is not to render an opponent temporarily unconscious, but to kill. In a rear naked choke, for example (as a kenpo technique), once the forearm is positioned across the opponent’s throat, the radial bone of the forearm is forcibly driven backwards through the opponent’s neck. Kenpo stylists could argue that the techniques are not designed to be executed as choreographed in real self-defense situations, but simply serve as instructional templates to teach progressively higher-level techniques and to develop advanced kenpo practitioners who can spontaneously respond to any attack. Nevertheless, if an attack does not contain strikes to the most vulnerable areas of the body, and to body parts that would be subject to severe trauma (i.e., the eyes, throat, and joints), the attack fails to meet the original definition of kenpo as a killing art. Claims have been made throughout history regarding the superiority or the invincibility of certain martial artists and different styles of martial arts. The current mixed martial arts are no exception to these claims. While the mixed martial arts are popular as a form of controlled and state-regulated sports competition, they cannot be considered as a combat or killing art, because of the many rules and regulations. Mixed martial arts fighters are often superbly conditioned athletes, who are trained to fight in an artificial environment (e.g., “cage fighting”). The conditioning of the body and strengthening of connective tissues is an important element in martial sports events, but throughout the development of traditional martial arts, the most vulnerable areas of the body (joints, eyes, throat, and other soft tissue; nerves and arterial target areas) are well understood to be vulnerable to a focused attack because they cannot be “hardened.” Even the strongest fighter has a brain composed of 78% water, which is vulnerable to concussion when acceleration/deceleration forces, directed to the head, exceed the brain’s ability to withstand blunt trauma. Moreover, the strongest of fighters still has joints that can be hyper-extended or hyper-flexed beyond their ability to maintain joint stability. Conclusion Because of the nature and limitations of human anatomy and physiology, with regards to body tissues, organs, and the physical mechanics of joints, a human body will be equally susceptible to any technique, whether it is Chinese, Japanese, Okinawan, European, or American, or whether it is based on Buddhist or Shinto religions, or is without any religious or philosophical foundation. What matters is the proper mastery and application of conditioning and training, both mental and physical, as well as, the proper use of physical mechanics in the execution of fighting techniques.

When this universal principle is recognized, the need for a large number of different martial arts styles may disappear, along with the often confusing array of techniques and the frequently baseless claims about the superiority of one over the other. The historical development of kenpo, from traditional to modern, has been a long process. While kenpo, in recent times, has been modified to fit with contemporary ethical, philosophical, and spiritual sensitivities, and the recognition of the sanctity of human life, its origins and applications were centered on its effectiveness as a killing and maiming art. Perhaps, the best way to explain kenpo, in terms of modern fighting applications is through the statement of a kenpo teacher as it pertains to kumite, Never enter into kumite without the intention to kill, and the willing acceptance of your death. But do neither, do not kill and do not die. But if by circumstance you are faced with the choice of killing or dying, know this, it is better to die not having taken a life than to die a murderer. References Uyenishi, S.K. (1905). The Text Book of Ju-jutsu as Practiced in Japan. 4th Edition, London Athletic Press. Mitose, James M. (1981, January 1). What is Self Defense? (Kenpo Jiu-Jitsu). Paperback. http://www.tracyskarate.com/History/Mitosebook/masterpage.htm Zarnett, B. & Seaby, P. Kenpo FAQ. http://wwwleland.stanford.edu/group/kenpo/kenpo-faq.html Ferreira, Feliciano (Kimo). San Jose Kenpo Karate. http://www.sanjosekenpo.com/mitose_and_the_aikido_connection.htm

I THOUGHT IT WAS ABOUT SELF-DEFENSE? Since not everyone that might read this article knows me or my strange sense of humor or has had firsthand contact with me or my teaching style, the following article may be misconstrued. I am profoundly nonviolent, and I believe, as I teach, “that it is better to heal than to harm”. In my own personal style of self-defense, I go out of my way and I choose to put myself at personal risk to avoid harming anyone. So far, and for the last six decades of my life, this philosophy and practice has worked for me. Unfortunately, I am not a stranger to violence and my life has at times been punctuated by sudden and brief episodes of a violent nature. I have faced single attackers, small groups, and large gangs, as well as, knife and gun threats. My students have mostly been women who were victims of rape, incest, and domestic abuse and has also included law enforcement officers who discovered that their practices in politically correct tactical training did not serve them well while rolling around on the ground with a drug crazed criminal intent upon causing them serious harm. I hope that you will never need to use any of the advice or techniques mentioned in this article. I should also note that unlike some of my traditional martial arts brothers and sisters I have great respect for mixed martial art athletes, but I have never been interested in the sport aspect of the martial arts, my focus is and has always been on combat. If I might make another comment it is that I have great concern regarding the injury rate among sport and mixed martial art fighters, and in particular the repetitive trauma to the heads and brains of these fighters. I don’t believe that we have even begun to see the unfortunate results of traumatic brain injury to these fighters. My philosophy includes staying healthy and maintaining the physical ability to fight and to protect oneself throughout and over the entire span of one’s life. It is my observation that the more extreme a fighter’s sport fighting career has been the greater the injuries that they suffer physically and mentally and the less likely they are to be healthy and vital into the latter decades of their lives.

I thought it was about Self-Defense? I was curious regarding the rules used by the mixed martial arts fighting organizations such as the UFC, IFL, WCL, and the WEC. Although some of the rules vary from organization to organization, depending upon their bias towards striking or grappling, often it is the state athletic commissions that really determine the rules of engagement. After all these “reality” based fighters are the new supermen and are reputed to be the “Baddest” thing in the fight game. This is what the Nevada State Athletic Commission currently lists as fouls: o o o o o o o o o o o o o o o o o o o o o

Butting with the head. Eye gouging of any kind. Biting. Hair pulling. Fish hooking. Groin attacks of any kind. Putting a finger into any orifice or into any cut or laceration on an opponent. (Gouging) Small joint manipulation. Striking to the spine or the back of the head. (Rabbit punch) Striking downward using the point of the elbow. (Elbow (strike)) Throat strikes of any kind, including, without limitation, grabbing the trachea. Clawing, pinching or twisting the flesh. Grabbing the clavicle. Kicking the head of a grounded opponent. Kneeing the head of a grounded opponent. Stomping a grounded opponent. Kicking to the kidney with the heel. Spiking an opponent to the canvas on his head or neck. (Pile driver) Throwing an opponent out of the ring or fenced area. Holding the shorts or gloves of an opponent. Spitting at an opponent.

As I read over these “fouls”, I found a list of my favorite fighting techniques! In Kosho Ryu Kenpo Jujitsu, we simply call the above list of perfectly acceptable techniques “self-defense.” In addition to eliminating most of my favorite techniques from competition the “spoilers” also do not allow: 1. 2. 3. 4. 5.

Engaging in unsportsmanlike conduct that causes an injury to an opponent. Holding the ropes or the fence. Using abusive language in the ring or fenced area. Attacking an opponent on or during the break. Attacking an opponent who is under the care of the referee. 33

6. Attacking an opponent after the bell (horn) has sounded the end of a round. 7. Flagrantly disregarding the instructions of the referee. 8. Timidity, including, without limitation, avoiding contact with an opponent, intentionally or consistently dropping the mouthpiece or faking an injury. 9. Interference by the corner. 10. Throwing in the towel during competition. 11. Using a Foreign object in the ring to your advantage. I mean let’s take the above so called “fouls” by the numbers, for example number one, I thought that the point was to cause injury to an opponent by any means including insulting his/her mother’s honor? How about “holding the ropes or the fence”, I was taught to use the environment around me including parking meters, the bumpers of moving semi-trucks, and or the corner of a brick building to punctuate my fights. Abusive language – all I can say is “sticks and stones” if using abusive language helps you whip your opponent into a blind mindless frenzy, then whisper the “sweet nothings” in their ear. “Attacking an opponent on or during the break?” Give me a break! If the “opponent can’t defend him/herself at all times they should go home and watch fights on TV. “Attacking an opponent who is under the care of the referee”, heck if the referee is helping the jerk take the referee out too! If you can get an extra punch or kick in at the bell more power to you, in fact why is there a bell at all, there “ain’t” no bell in the street. If there is a bell throw your opponent through the darn thing! How about disobeying the referee? Shame on you! (I am going to tell your father when he gets home.) Timidity, avoiding contact, faking an injury? Haven’t they ever heard of outright trickery, fighting tactics or monkey style kung fu? But let’s look at “avoiding injury” again. That was the reason that I began studying the martial arts to begin with, to avoid being hit! I have no desire to stumble around in my old age punchy from too many head shots. The only rule that I agree with is number nine. Don’t even think about interfering with my fight, I am perfectly capable of handling it myself. On second thought - if I do get in trouble then by all means pile on and have at it. Rules ten and eleven to me are the same thing. Use a towel, a “Foreign” object or anything that you can get your hands on (like the bell) to protect yourself. After all it is called self-defense! I am sorry about my bad attitude and maybe I have missed the entire point to the billion dollar “reality” fighting game, but I was taught to end the fight, end it fast, and go home and eat ice cream and sweet chocolate candies. My father was my first martial arts instructor. He taught me to box, to love fighting, and to win. While his teaching “style” was tough he also taught me by moral example and I particularly remember one lesson that I learned from him regarding the “no rules” approach to self-defense in the street. My father was at one time a floor manager for the now defunct company Montgomery Ward and he managed the appliance department in a Ward’s store in Dubuque, Iowa. One of his employees was a young star Loyola college basketball player with a history of mental imbalance and institutionalization. In other words, this guy was a six foot nine two hundred and seventy pound athlete who with serious mental health issues.

On the particular day in question this “raging bull” went totally bananas over how to move a refrigerator and picked up the refrigerator and threw it into a warehouse wall and then proceeded in the direction of my father with a maniacal look on his face. My father stood his ground and as the guy came into range calmly knocked him to the floor unconscious with a really vicious blow to the head, aided by the two-by-four he was holding in both hands. (Batter up!) I still remember the sickening sound of the two-byfour connecting with the guy’s head. Fight over, lesson learned. So, all you corporate/celebrity acronyms… fouls? They are just self-defense techniques to me. Like most martial arts instructors I have taught students who have been the victims of severe incidents of assault or abuse self-defense. While the reader may think that my methods are extreme and that this approach is too violent, I am reminded of the young woman that I trained who was raped in her home by two men, at knife point, and in front of her eleven year old daughter and husband. I believe that she would disagree with you. I guess that this is where I am supposed to apologize and say that I am just joking. Am I?

CIVIL PROTECTION TRAINING PROGRAM Dr. Gregory T. Lawton Blue Heron Academy of Healing Arts and Sciences 2040 Raybrook St., SE, Suite 104 Grand Rapids, Michigan 49546