Dr Gregory T. Lawton

Introduction

In part one of this series on combat training for bladed weapons I covered practical concepts and techniques that introduced ideas for contemporary training and applications for the use of short, medium, and long bladed weapons. If you have not read that article, Embracing the Blade, Part 1, I suggest that you review it. In this article I am going to primarily focus on the use of short-bladed weapons, various styles of knives, and principles of conflict. As I explained in Embracing the Blade, Part 1, my introduction to bladed weapons began in the 1960s while studying Japanese and American kenpo. In this article I will share a brief history of contemporary kenpo and its evolution, along with kenpo’s adoption of short-bladed weapons such as the knife.

In this article I use two common spellings of kenpo/kempo. In some circles the debate continues as to which spelling is correct and whether kenpo/kempo is primarily a Chinese or Japanese martial art. The truth is that kenpo/kempo is Chinese, Japanese, and Okinawan and therefore, the choice of spelling kenpo or kempo is a trivial matter. As a student and teacher of kenpo I do not view kenpo as a style of martial art rather, it is a description of a group of techniques collectively and historically referred to as “fist law”.

A Brief History of Kenpo/Kempo

My first introduction to kenpo began in the early 1960s. Kenpo was presented to me as both a form of karate and jujitsu. During this period the kenpo that I was trained in contained elements of both Karate and jujitsu although it was mainly marketed to the public as Karate and self-defense. In the United States there were few freestanding martial arts schools until Ed Parker, Al, Will, and Jim Tracy, and Thomas Connor (all central figures in the early growth and development of American kenpo) came up with the concept of establishing “storefront” martial arts studios, student training contracts, and standardized kenpo training curriculum. These innovations helped martial arts schools to stabilize their revenue and growth and school owners to derive a stable income.

This would be a good place in this article to note that American kenpo and other styles and historical lineages of kenpo/kempo have always been open to adopting the best and most effective methods of many martial art systems, especially the stick or club, and knife techniques of Arnis, Kali, Escrima, and Silat. The founders of these systems of combat martial arts not only adopted many kenpo/kempo techniques but they are well received, recognized, and even revered within the kenpo/kempo worldwide communities. Many kenpo teachers and systems of kenpo/kempo have incorporated these martial arts within their training programs.

Judo founder Kanō Jigorō began to develop a belt ranking system in the late 1800s and early 1900s composed of grades of dan and kyu. This system of testing and grading varied country by country and with the geographic spread of judo worldwide. When I first trained in judo at a YMCA program there were only three belt ranks, white, brown, and black. The story that I was told by my instructors was that there was originally only one belt, a white belt, that became brown and eventually black through years of training. You could recognize a more advanced student or teacher by the grime on their belt and how torn and tattered it was. Likewise, where I first studied kenpo only had two belts, white and black.

Promotion from a white belt to a black belt was often an informal affair without a formal belt test. It was the Tracy brothers that originated the American kenpo colored belt ranking system, but as was mentioned above colored belts had already been used for decades in judo and other systems of martial arts.

S.K. Uyenishi, the author of THE TEXT BOOK of Ju-Jutsu as Practiced in Japan, wrote his book during the early 1900s. In his book he offers some brief insight into the historical representation of kenpo. S.K. 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. He was a pioneer of jujitsu in the United Kingdom. In this book he demonstrates various techniques including 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 1800s in Japan. This was a turbulent time in the history of Japan, in 1867, after nearly seven hundred years of Shogun rule, the Tokugawa Shogunate was officially ended.

For kenpo practitioners our main interest in S.K. Uyenishi results from his textbook and specifically his citing of kenpo. Al Tracey has researched this matter and his work has provided the following quoted content from S.K. 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 ju-jutsu than are 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. By-the-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 Indo-Germanic origin of the Anglo-Saxon Race.’

Cover of S.K. Uyenishi’s THE TEXT BOOK of Ju-Jutsu as Practiced in Japan

The opening sentence of S.K. Uyenishi’s description of kenpo provides insight into one of the earliest definitions of kenpo and shows us that in the 1800s and early 1900s kenpo was recognized as a killing method, “… may be roughly described as a method of killing people” and “… against sudden attack with intent to kill”. Kenpo historian Al Tracy further states and re-clarifies 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.” “This definition of kenpo as a killing art made by S.K. Uyenishi predates James M. Mitose’s book written in 1947, ‘What is Self Defense?’, which presents kenpo in the post-shogun and post-samurai period as a form of personal self-defense.

Every style of martial arts has its originator and fountainhead. Master Gu Lieu Xing, a well-known Yang tai chi chuan teacher, a student of Yang Cheng Fu and Chen Fa-Ke, and a prominent promoter of wushu in China, wrote an essay entitled “In Memory of Tang Hao”. In it he states, “In the 1930s, people in the martial art circles of our nation clung too much to the idea and the importance of lineage, and this caused major disputes…”. Rigorous research by scholars and historians has shown that at the fountainhead of every martial art is a common man who,

through hard work and effort (kung fu), and by building on the work of predecessors, he was able to achieve innovation, and contribute to the evolution of knowledge and advancement of the martial arts.

An important historical figure in contemporary kenpo history, and the early development of American kenpo, was James Mitose. He was born in 1920 and died in 1981. One of the very first ads he ran for his school in Hawaii identified kenpo as kenpo Jujitsu. I was attracted to American kenpo and its jujitsu roots because I wrestled in school and had been studying judo at the local YMCA. Later, after I relocated to Mesa, Arizona in 1970, I enrolled in Thomas Connor’s Kosho ryu kenpo school. Some of the first lessons and techniques I was taught were how to fall, roll, and avoid being taken to the ground. I was also taught how to fight from the ground, if I was taken to the ground, how if throw to roll and immediate spring back to my feet, and to counterattack with hand and foot striking techniques. This concept differed greatly from my judo training where the “Uke” falls or is thrown to the mat and passively lays there. Later many of the kenpo techniques that I was taught were counterattacks to grappling techniques such as breaking the grapples fingers. For those that think that, “mixed martial arts” are a recent development… that is simply not true.

Cover of James Mitose’s book, What is Self Defense, written in 1947

An early newspaper advertising by “Professor James M. Mitose for Kempo-Ju-Jitsu classes in Kapahulu a suburb of Honolulu, Hawaii

Kosho ryu kenpo, as developed by James Mitose, William K. S. Chow, Ed Parker, Thomas Connor, Al, Will and Jim Tracy, and many gifted kenpo teachers represented different martial art styles from diverse nationalities, was presented as a system of empty hand combat. American kenpo later embraced the use of bladed weapons, sticks, and clubs. As a representation of kenpo’s “empty hand” philosophy we have this creed written by American Kenpo Karate founder, Ed Parker:

“I come to you with only Karate, empty hands. I have no weapons, but should I be forced to defend myself, my principles, or my honor, should it be a matter of life or death, of right or wrong; then here are my weapons, Karate, my empty hands.” - Edmund Parker

In the introduction to his book it James Mitose who defines kenpo in the following manner; “The main purpose is to give faith to man and reform him into a new man. One should hate the wrong doings 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 of kenpo sharply deviates from the historically established and the well-recognized reputation of kenpo as an art of killing. However, considering that Japan and the United States were just ending World War II it should not be a surprise that there was a social and moral receptivity to 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 aikido founder, Morihei Ueshiba, who was a contemporary of Mitose’s. Just as the killing art of Japanese aiki jujitsu was reformed into the peaceful martial art that was to become known as aikido, kenpo in the hands of Mitose experienced a similar reformation.

Kosho Ryu Kenpo’s Adoption of the Knife

Ed Parker was the creator of the Ed Parker American kenpo long form 8 using kenpo double daggers, which is a double knife or dagger form. However, if we trace the early historical roots of kenpo through Japan, its country-of-origin China, and Okinawa we see that long, medium, and short bladed weapons were a traditional component of training in Japanese kenpo and Chinese kempo or chuan fa. I studied the kenpo Long Knife Form in the 1970s and have used the kenpo knife designed by renown knifemaker Gil Hibben. While I greatly appreciate the beauty and design of Hibben kenpo knife, also known as the “Ed Parker knife," my personal preference is a smaller, lighter, and concealable blade. The Gil Hibben kenpo knife that I have, is almost 13 inches in overall length with a blade length of 7 inches. In addition, the cross guard on the Hibben kenpo knife is not only designed to protect the user’s hand from being cut, but also to block, trap, and/or lock an opponent’s blade.

Kenpo Karate, Law of the Fist and Empty Hand by American Kenpo Karate founder Ed Parker

The Hibben kenpo knife is in my mind similar to a Bowie knife in design, weight, and length and the kenpo knife form techniques are better identified with the concepts of “knife fighting”. In my previous article I shared my opinion that there is no such thing as a “knife fight” but that the combat use of a knife is a form of “assassination”. If a knife is used tactically in combat, it is not displayed or brandished, it is concealed until the first cut or stab is executed. Please refer to Embracing the Blade, Part 1 for a broader explanation of this concept. Neither the kenpo long knife form or the “Ed Parker Knife” are compatible with many modern concepts of combat and tactical knife use.

Gil Hibben was a kenpo student of Ed Parker and designed the kenpo knife as part of his black belt thesis (a requirement for being a awarded a black belt in kenpo). He presented the knife, later referred to as the “Ed Parker Knife” to Ed Parker in 1968. Elvis Presley was also a student of Ed Parker and in 1974 Ed Parker and Gil Hibben presented the “Ed Parker Knife” to Presley. I am not surprised that the Hibben knife resembles a Bowie knife in terms of design, length, and weight. During the era the kenpo knife was created popular television shows such as Gunsmoke, Bonanza, the Lone Ranger, and many other shows and movies of the time, featured two-man knife duels using a Bowie style knife. The mentality of “machismo” and the concept of “knife fighting” created in the media remained within the martial arts community at large and influenced kenpo training and kata for decades to come. In fact, combat and tactical weapons instructors are still trying to clarify the misconception of a “knife fight” as a mano y mano duel.

Regarding the kenpo long knife kata, and kata in general, and as a point of clarification, there is absolutely nothing wrong with practicing kata or forms. I personally practice kata and internal martial arts forms for several hours every day. However, I do not confuse martial arts forms, stylized training, or memorized defensive and offensive techniques and combinations of movements with actual street or combat applications. To do so can be a deadly mistake.

The ”Ed Parker” knife created by famous knife maker Gil Hibben

Kenpo Knife Form

There is no dangerous information. There are, however, dangerous, and deranged people who will use information is a destructive manner to hurt other people.

Our knife training at the Blue Heron Academy includes a short knife kata that employs a series of knife techniques which reflect simple and direct cutting, stabbing, and maneuvers that closely reflect our combat and tactical approach to bladed weapons. In part one of Embracing the Blade I explained that there are four central elements to the use of the combat knife, and these are:

1. Attack the most lethal areas of the body 2. Keep the knife concealed until engaged 3. Apply rapid instantaneous attacks 4. Attack continuously and repeatedly

Our main approach to knife training is to use simple practice drills based upon the rapid deployment of the knife and the economical use of the knife with a few movements to vital targets on the human body. For a better explanation of this approach, please review Part One of Embracing the Blade. The following photographs will outline our short knife kata.

Blue Heron academy Kenpo Crest

Kenpo Knife Form:

1. Two Tigers Retreat to be Ready (A horizontal slash) a. Check and control the wrist. b. Throat slash and reverse neck cut. c. Hilt strike to the face.

In this technique, “Two Tigers Retreat to be Ready," slash to the anterolateral aspect of the neck and then roll the knife and cut from posterior to anterior severing the posterolateral muscles and nerves. Note that the knife blade is facing way in the upper image and the knife hilt is rolled and the blade edge is pointing in the opposite direction.

Photograph: Knife Kata 1

Photograph: Knife Kata 2

In this photograph, Knife Kata 3, we see the blade edge position to slash across the anterolateral aspect of the throat.

In this photograph, Knife Kata 4 we see the blade edge position has been reversed to facilitate cutting the posterolateral aspect of the neck.

The objective of the first movements in the short knife kata is to severe the muscles and nerves of the anterior and lateral aspects of the neck and then by reversing the direction of the blade edge and cutting from posterior to anterior the sever the posterior and lateral muscles and nerves.

In photography Knife Kata 5 we see the hilt of the knife being directed into the eye socket.

2. Monkey Elbow (Descending abdominal stab and cut)

Reverse stab to abdomen, bend the knees, drop the body weight, and cut downward.

“Monkey Elbow” is a stab below the rib cage and up into the liver followed by dropping the body weight and cutting downwards through the abdominal muscles and organs.

Photograph: Knife Kata 3

Photograph: Knife Kata 4

Photograph: Knife Kata 5

Photograph: Knife Kata 6

In photograph Knife Kata 7 we see the position of the knife as the blade is used to cut downward. This technique is aided by bending the knees and dropping the body weight. At the end of the cut the blade is twisted and withdrawn from the abdomen.

3. Golden Dragons Plays in Water (Vertical slash to the inside of the wrist, forearm, and/or armpit)

a. Check parry attackers’ right hand and reverse slash right wrist/forearm. b. Check parry attackers’ left hand and reverse slash left wrist/forearm. c. Reverse stab to neck. (A descending ice pick stab into the supraclavicular fossa)

In photograph Knife Kata 8 we see the hand checking or parrying an attacker’s hand and the simultaneous slashing of the inside of the blood vessels and nerves of the attacker’s wrist, forearm, and armpit.

Photograph: Knife Kata 7

Photograph: Knife Kata 8

4. Two Dragons Receive Pearls (Stab and slash to the femoral artery and genitals)

a. Block and trap opponent’s kick. b. Execute a figure 8 slash from the right groin to the left groin and back to the right groin. c. Straight abdominal stab.

“Two Dragons Receive Pearls” is a figure 8 slash across the groin, genitals, and into the femoral triangle where the femoral artery and nerves are located.

Photograph: Knife Kata 9

In this photograph, Knife Kata 10, we are executing a straight stab into the abdomen. The guard hand is positioned to check and/or neutralize disarms or joint locks.

5. Slashing Wings (Right and left armpit slash)

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.

In this photograph, Knife Kata 11, we are depicting trapping or checking the upper arm and slashing into the armpit to sever the brachial arteries, veins, and nerves.

6. Embracing Death (Posterior throat and neck slash)

a. Step to rear of attacker from the left side. b. Grab the attackers head or hair and slash the throat and neck from the rear.

Sifu John Aldred demonstrates slashing across the throat and the anterolateral aspect of the neck from a position behind the attacker’s body. The hand not holding the knife is controlling the head and neck or grabbing the hair.

7. Impending Doom (Straight kidney stab)

a. Straight stab into the kidney and twist the knife.

This technique employs a straight stab below the floating ribs and into the kidney in a classic military fashion with a twisting motion of the knife while it is being pushed forward and upon withdrawing it from the body.

8. Push (Push the body forward while withdrawing the knife from the kidney)

Photograph: Knife Kata 10

Photograph: Knife Kata 11

Photograph: Knife Kata 12

Photograph: Knife Kata 13

9. Drawing the Bow (Low fighting horse stance)

a. A left body control from behind the attacker. b. Draw the Bow (Drawing the knife back into a ready position)

In this photograph, Knife Kata 11, we are depicting trapping or checking the upper arm and slashing into the armpit to sever the brachial arteries, veins, and nerves.

“Drawing the Bow” is a ready position to continue an attack or to stop fighting, whichever the circumstances of the situation demand. Attacks are always initiated with the knife being deployed from concealment, but in the case of the Drawing the Bow technique the blade has already been deployed and utilized. The cutting edge of the blade may be held upwards or downwards.

Photograph: Knife Kata 14

Knife Drills

The short knife kata presented in this article is designed to train students in simple basic knife techniques and how to move from technique to technique efficiently and effectively as well as with speed, control, and flow. We also train our students in knife drills and offensive attacking sequences that incorporate one, two or three movements. We practice these movements repeatedly in practice sequences and against hard targets that we can cut into. These drills are designed to be executed in one second or less. Essentially in the blink of an eye! We will, when circumstances permit, attack at the exact moment that the eye blinks.

Knife Throwing

My instructors in the use of the knife advised me to keep my knife in my hand and to never throw a knife. Frankly, I agree with that advice. I have met some remarkable knife throwing experts who compete in knife throwing competition. I have myself, engaged in knife and axe throwing as a fun sport and I have practiced knife throwing against targets at a three-to-five-foot distance. A common attack range for criminals. My advice is to keep your knife in your hand but if you are tempted to throw it, throw it… Then run away as fast as you can — because you just gave your knife to your attacker.

Knife Disarming

Like most martial artists who have trained in the use of the knife I have been taught and trained in various techniques for disarming an opponent with a knife. My considered opinion is they do not work, and that they are dangerous to attempt against a well-trained and proficient attacker with a knife. In our school, we practice extensively on defeating knife disarm techniques.

Conclusion

My favorite movie is Roadhouse starring Patrick Swayze. In this two-part series on combat and tactical knife use I have expressed many opinions on the use of the knife for self-protection. One of my favorite lines in the movie Roadhouse is when Swayze, responding to a snide comment with a deadpan face, turns to the commentor and says, “Opinions vary”. Opinions do vary, but I hope that you find some value to the thoughts and suggestions that I have made in Embracing the Blade, Parts One and Two. If it has not been made clear in these articles my approach to the use of the knife is not as a defensive weapon but as an offensive weapon. I believe in the Cobra Kai philosophy: “Strike first, Strike hard, No Mercy”.

Acknowledgement

My sincere appreciation and thank you to Sifu John Aldred for his very competent assistance with the movements and techniques of the short kenpo kata.

About the author:

Gregory T. Lawton, D.C., D.N., D.Ac. is a chiropractor, naprapath, and acupuncturist. He is the founder of the Blue Heron Academy of Healing Arts and Sciences where he teaches biomedicine, medical manual therapy, and Asian medicine. Dr. Lawton is nationally board certified in radiology, physiotherapy, manual medicine, and acupuncture.

Since the early 1960s Dr. Gregory T. Lawton has studied and trained in Asian religion, philosophy, and martial arts such as aikido, jujitsu, kenpo/kempo, and tai chi chuan. Dr. Lawton served in the U.S. Army between 1965 and 1968 achieving the rank of Sergeant E-5.

Dr. Lawton’s most noted Asian martial art instructor was Professor Huo Chi-Kwang who was a student of Yang Shao Hou.