Showing posts with label articles by Mr. Parker. Show all posts
Showing posts with label articles by Mr. Parker. Show all posts
Sunday, December 7, 2025
Thursday, November 25, 2021
Mr. Parker on Humility and Self Restraint
(from Law of the Fist and Empty Hand)
When first learning unfamiliar, yet effective, defensive techniques a large number of students are intrigued. Armed with enthusiasm, they seek further knowledge. Some try to advance too fast in their quest for defensive techniques, which actually hinders their progress. On the other hand, the enthusiastic student who works hard at one defense, and then goes on to another is the student most apt to retain these techniques, and use them effectively and without hesitation in time of need. Yet, regardless of how one proceeds to quench their thirst for knowledge, it is only common that some daydream, picturing themselves applying what they have learned to perhaps an immense neighborhood bully or a gang of ruffians and, of course emerging the victor.
However, the mastering of these techniques, though important from the physical standpoint, is not the true objective of 𝐊𝐄𝐍𝐏𝐎 𝐊𝐀𝐑𝐀𝐓𝐄. The physical techniques for preparedness develop confidence in a beginner; but as one studies the art and it’s deeper aspects, they will discover that self confidence is just a stepping stone to humility and self-restraint. When this spiritual attitude is obtained, success in daily living is just destined to prevail, and the true objective of 𝐊𝐄𝐍𝐏𝐎 𝐊𝐀𝐑𝐀𝐓𝐄 will have been attained.
Evidence of humble attitudes can be found not only in those having a knowledge of 𝐊𝐄𝐍𝐏𝐎 𝐊𝐀𝐑𝐀𝐓𝐄, but among other athletic greats in their respective fields. If a survey was to be conducted among these athletes, as to the origin of their humble attitudes, they would probably say that when the peak of their success was reached, they realized that their level of achievement was only the beginning of a new learning period. With yet many other levels to attain, one realizes how little he really knows, and thus rids himself of that “know-it-all”attitude. This does not necessarily hold true in some competitive sports where there is Team participation, but generally, applies to competition where the individual determines victory or defeat.
Sunday, February 24, 2019
My Experiences with James Mitose
by Ed Parker
Contrary to some of the claims that have been made in publications, I was never a student of James M. Mitose. I observed his class in Honolulu in the mid forties, but I was not convinced about the effectiveness of many of the methods that he taught.
Having a chance to scrutinize his class allowed me to be convinced that a number of the methods he employed would not work on the street. As a young experienced street fighter I felt that many of his methods lacked realistic application. The street punches come fast and furiously and to see his students catching punches in mid air with the maneuvers they employed would not work in my mind. However, observing Chow's class was a much different experience. Because of Chow's altercations in the streets of Honolulu, practical application was, indeed, prevalent.
I did not see Mitose again until he visited me at my home and Kenpo School in Pasadena, California during the early 1970's. His visits extended over a five month period. Each time I saw him, he was dressed as an ordained minister. Many of our conversations lasted hours on end, touching upon an array of topics as well as his proposed money raising projects.
He asked to meet a number of my celebrity students and friends. This included friends of the movie industry as well as those in politics. It was his desire to raise funds for a number of his projects and he felt that photos taken with these celebrities would give him greater recognition and prestige. He felt that donations would be easier to raise if he could show proof of his affiliation with these celebrities. He also felt that being dressed as an ordained minister was another effective means of raising funds. "People are more inclined to donate money to men of the ministry.", he said. He mentioned that he planned to go to Japan to display these pictures. He was convinced that he could raise one or two dollars from every family he visited. His goal was to raise 10 to 15 million dollars.
One of Mitose's projects was to use part of the funds to build a Kenpo Temple. The estimated cost was several million dollars. It was Mitose's desire to operate the temple as a monastery where disciples would be drafted from various parts of the country and become resident trainees. He was intent and serious about his plans and asked me if I would be the head of his temple when it was completed. I told Mitose that I was definitely not interested for two reasons, (1) I already had my own schools in operation, and (2) I did not teach his methods of Kenpo. I told him that my innovative methods were modified and geared for the American environment. That was what I believed in and that was what I was sticking to. At this point of our conversation he got extremely angry and threatened my future in Kenpo. While what he said to me is not important, I abhor threats and like a true Polynesian gave him a piece of my mind and then some. Needless to say, our conversation ended and I asked him to leave.
During the earlier months of our 1970 relationship, I found Mitose to be knowledgeable about the evolution of Kenpo, as he revealed many interesting historical facts. On occasion, he would take off his shoes, walk on the mat area (of my Pasadena School), demonstrate self-defense techniques and discuss Kenpo principles with some of my Black Belt students; namely Tom Kelly, Richard "Huk" Planas, Bob Perry, and Mike Pick. I noticed, after Mitose demonstrated techniques, that my students would look at me hoping to detect from my facial expressions some reaction confirming or disagreeing with Mitose's performance. As I gazed into their faces, I could detect telltale expressions of bewilderment and disappointment. Many of Mitose's moves still leaned heavily toward impractical methods of application. They still seemed to lack continuity and forethought and left him dangerously exposed. My disappointment was heightened when I witnessed a void of circular movements and strikes which Chow had so emphatically stressed in his teachings.
During the months that followed, many other unanswered questions surfaced. Why had the Mitose (Kosho) Clan so drastically deviated from the original teachings of Tamo (Daruma) and his Chinese disciples in the frequent use of circular movements? Circular moves had certainly been a vital part of the original system that added to the totality of movement. I could not understand why the Kosho Clan, who had so proudly traced their roots to Tamo (Daruma) were willing to discard and abort circular disciplines as well as other rudiments of motion. I support the Mitose (Kosho) Clan's desire to change the art to suit the needs of the Japanese people during that period of history, but why did the Clan employ moves that were predominantly linear in context? Circular moves, used within the framework of reason (logic) undisputedly balances the blend of motion which, when given time, inevitably leads to useful and practical movements. Lacking this ingredient would be comparable to replacing round tires on an automobile for square ones. Thanks to William Chow and his father, the crucial link has been restored as well as preserved. They have been responsible for circular movements again finding their rightful place in the Kenpo system.
As I conclude this article, I am in no way saying that all aspects of Mitose's teaching were impractical. He did employ methods that once modified, could work with convincing results. Mitose's Kenpo, as it was first perpetuated in Hawaii, did stress attacking vital areas by punching, striking, chopping, thrusting and poking, as well as throws, locks and take downs. But, although similar to Judo's methods of Atemi Waza, his methods and philosophy were different. I give him credit for placing importance in the order that fundamentals were to be taught. He felt that punching, striking, and kicking were not only faster than throwing, but were better methods of self-defense. He felt that when a person was attacked, he should preserve his physical resources and use strength and energy economically. No one should risk exhausting himself by attempting to grab and throw his opponent. Throwing, Mitose warned, exposed your vital points, which multiplied, when you were faced with more than one opponent.
Another positive aspect of his teaching was how to maneuver and have your opponent unknowingly place himself in a precarious and vulnerable position. Although he did not encourage Kenpo as a sport, Mitose did feel that if it was made into a sport greater effort should be taken to properly protect the vital areas on the body. Kenpo, he said, is purely an art of self-defense and although similar to boxing, there is a difference in fundamentals and philosophy. "Boxing, in the Japanese language, is Ken-to, Ken means fist and to means fight. Kenpo means fist fight. In Kenpo, Ken means fist and po means law. Thus Kenpo means fist law." Knowing the similarities between American boxing and Kenpo, it was Mitose's desire that Kenpo would one day become Americanized. Kenpo has without question become Americanized and although it was William K.S. Chow who really started to cultivate the seed of American Kenpo, Mitose will always remain a part of our Kenpo history.
Contrary to some of the claims that have been made in publications, I was never a student of James M. Mitose. I observed his class in Honolulu in the mid forties, but I was not convinced about the effectiveness of many of the methods that he taught.
Having a chance to scrutinize his class allowed me to be convinced that a number of the methods he employed would not work on the street. As a young experienced street fighter I felt that many of his methods lacked realistic application. The street punches come fast and furiously and to see his students catching punches in mid air with the maneuvers they employed would not work in my mind. However, observing Chow's class was a much different experience. Because of Chow's altercations in the streets of Honolulu, practical application was, indeed, prevalent.
I did not see Mitose again until he visited me at my home and Kenpo School in Pasadena, California during the early 1970's. His visits extended over a five month period. Each time I saw him, he was dressed as an ordained minister. Many of our conversations lasted hours on end, touching upon an array of topics as well as his proposed money raising projects.
He asked to meet a number of my celebrity students and friends. This included friends of the movie industry as well as those in politics. It was his desire to raise funds for a number of his projects and he felt that photos taken with these celebrities would give him greater recognition and prestige. He felt that donations would be easier to raise if he could show proof of his affiliation with these celebrities. He also felt that being dressed as an ordained minister was another effective means of raising funds. "People are more inclined to donate money to men of the ministry.", he said. He mentioned that he planned to go to Japan to display these pictures. He was convinced that he could raise one or two dollars from every family he visited. His goal was to raise 10 to 15 million dollars.
One of Mitose's projects was to use part of the funds to build a Kenpo Temple. The estimated cost was several million dollars. It was Mitose's desire to operate the temple as a monastery where disciples would be drafted from various parts of the country and become resident trainees. He was intent and serious about his plans and asked me if I would be the head of his temple when it was completed. I told Mitose that I was definitely not interested for two reasons, (1) I already had my own schools in operation, and (2) I did not teach his methods of Kenpo. I told him that my innovative methods were modified and geared for the American environment. That was what I believed in and that was what I was sticking to. At this point of our conversation he got extremely angry and threatened my future in Kenpo. While what he said to me is not important, I abhor threats and like a true Polynesian gave him a piece of my mind and then some. Needless to say, our conversation ended and I asked him to leave.
During the earlier months of our 1970 relationship, I found Mitose to be knowledgeable about the evolution of Kenpo, as he revealed many interesting historical facts. On occasion, he would take off his shoes, walk on the mat area (of my Pasadena School), demonstrate self-defense techniques and discuss Kenpo principles with some of my Black Belt students; namely Tom Kelly, Richard "Huk" Planas, Bob Perry, and Mike Pick. I noticed, after Mitose demonstrated techniques, that my students would look at me hoping to detect from my facial expressions some reaction confirming or disagreeing with Mitose's performance. As I gazed into their faces, I could detect telltale expressions of bewilderment and disappointment. Many of Mitose's moves still leaned heavily toward impractical methods of application. They still seemed to lack continuity and forethought and left him dangerously exposed. My disappointment was heightened when I witnessed a void of circular movements and strikes which Chow had so emphatically stressed in his teachings.
During the months that followed, many other unanswered questions surfaced. Why had the Mitose (Kosho) Clan so drastically deviated from the original teachings of Tamo (Daruma) and his Chinese disciples in the frequent use of circular movements? Circular moves had certainly been a vital part of the original system that added to the totality of movement. I could not understand why the Kosho Clan, who had so proudly traced their roots to Tamo (Daruma) were willing to discard and abort circular disciplines as well as other rudiments of motion. I support the Mitose (Kosho) Clan's desire to change the art to suit the needs of the Japanese people during that period of history, but why did the Clan employ moves that were predominantly linear in context? Circular moves, used within the framework of reason (logic) undisputedly balances the blend of motion which, when given time, inevitably leads to useful and practical movements. Lacking this ingredient would be comparable to replacing round tires on an automobile for square ones. Thanks to William Chow and his father, the crucial link has been restored as well as preserved. They have been responsible for circular movements again finding their rightful place in the Kenpo system.
As I conclude this article, I am in no way saying that all aspects of Mitose's teaching were impractical. He did employ methods that once modified, could work with convincing results. Mitose's Kenpo, as it was first perpetuated in Hawaii, did stress attacking vital areas by punching, striking, chopping, thrusting and poking, as well as throws, locks and take downs. But, although similar to Judo's methods of Atemi Waza, his methods and philosophy were different. I give him credit for placing importance in the order that fundamentals were to be taught. He felt that punching, striking, and kicking were not only faster than throwing, but were better methods of self-defense. He felt that when a person was attacked, he should preserve his physical resources and use strength and energy economically. No one should risk exhausting himself by attempting to grab and throw his opponent. Throwing, Mitose warned, exposed your vital points, which multiplied, when you were faced with more than one opponent.
Another positive aspect of his teaching was how to maneuver and have your opponent unknowingly place himself in a precarious and vulnerable position. Although he did not encourage Kenpo as a sport, Mitose did feel that if it was made into a sport greater effort should be taken to properly protect the vital areas on the body. Kenpo, he said, is purely an art of self-defense and although similar to boxing, there is a difference in fundamentals and philosophy. "Boxing, in the Japanese language, is Ken-to, Ken means fist and to means fight. Kenpo means fist fight. In Kenpo, Ken means fist and po means law. Thus Kenpo means fist law." Knowing the similarities between American boxing and Kenpo, it was Mitose's desire that Kenpo would one day become Americanized. Kenpo has without question become Americanized and although it was William K.S. Chow who really started to cultivate the seed of American Kenpo, Mitose will always remain a part of our Kenpo history.
Sunday, February 3, 2019
My Beginning
by Ed Parker
My introduction to Kenpo originated at a church meeting. I was sixteen years old at the time when one of the members of the church I belonged to, Frank Chow, told a few of us how he had beaten a local bully. I knew the bully well and was aware of his victories in street fights. He was big and solid as granite. Not until Frank demonstrate the strategy he used did we believe him. With this rather brisk introduction, I became interested in this Oriental Art and began studying under Frank Chow. I became a Kenpo addict and Frank recognized my ardent wish to learn. Having boxed and having been involved in many street altercations myself, I questioned, disagreed, and stood corrected in my quest for sophisticated knowledge. I saw th value of this system if it became necessary for me to employ it on the street. Having learned Judo, and treasuring its merits, I nevertheless could see that handling two or more men was not a problem utilizing the Kenpo methods taught me. In Judo one ties himself up to one man too long. During these precious moments, your vulnerable areas are exposed for too long. Kenpo offered explosive action with minimum target exposure. I looked forward to every lesson only to be discouraged one day when Frank told me that he was ending our lessons.
Rejected and disappointed, I thought my Kenpo training had come to an end. Frank anticipated my disappointment and was happy to see this reaction. He explained that he had taken me as far as he could. He was not qualified to go beyond the lessons he had already taught me. He then instructed me to further my Kenpo education with his brother, William, who was a top instructor in Honolulu. With mixed emotions, I did visit and talk with William K.S. Chow. He was conducting a class at the Nuuanu Y.M.C.A. at the time of my visit and I was impressed with what I saw. Heretofore, it had only been Frank and I. I had no one to compare my ability with and this I could surmise would be a tremendous asset to be able to work with other practitioners. William K.S. Chow’s Kenpo Karate class was a selective group. Only upon the recommendation of another class member, could one be accepted as a pupil. I felt privileged to have known Frank Chow and grateful for my introduction to his brother, William. From the moment I witnessed William Chow move and appraised the ability of his students, a strong and spiritual feeling penetrated the very depth of my soul communicating to me that Kenpo would become my life’s work.
Working with others having varying arm and leg lengths, mannerisms, and methods of executing moves proved fruitful. It made me aware of the need to learn motion thoroughly. The ability to protect and hit from any angle thrilled me to no end. This knowledge increased my chances of being victorious on the street. This manner of thinking was typical at this point of my life, but changed in later years as I matured and was assured of my proficiency.
Adriano (Sonny) and Joe Emperado were senior students at the time of my acceptance as a student by William K.S. Chow. They were William Chow’s first graduating Black Belts in Kenpo Karate and I looked upon them with envy and respect. It wasn’t too long after that the two Emperado brothers opened their own school at the Palama Settlement in Honolulu. I visited them often and always received a cordial welcome. It was Adriano (Sonny) who, after his brother Joe’s death, formed his system of Kajukenbo. Kajukenbo is an off shoot of the Kenpo Karate system taught by William Chow, with advocates of this system found throughout the world.
There were many other students who branched away from William Chow'sKenpo Karate system. Each, however, had the greatest respect for Chow’s ability. He was not a tall man by any means, but fast, precise, and powerful. He never wasted motion and reminded me many times of a mongoose fighting a snake. He never exaggerated his defensive moves. He allowed an opponent’s punch to miss him by a – slight move, a miss, and bam! He’d be in at your vital area. He was good and I wanted to learn as much as I could from him. I followed him, questioned him, bugged him, and it paid off. He explained and stressed the need for modifications and additions and introduced me to master key movements which set me on the road to becoming a creative innovator. He knew that Kenpo was only in its infant stage of modification. Like Mitose’s family who had changed the art they had learned to suit the needs of the people of their time, Chow also felt there was a need to change the art to meet the needs of the American people at this time.
I treasured the time I spent with him and the revelations I obtained from our conversations and workouts. As I look back, I cannot thank him enough for setting me on a path of logical and realistic thinking.While the old methods of Mitose and Chow’s father are now obsolete, their contributions nevertheless are useful in terms of making analytical comparisons.
Chow’s classes were loaded with great practitioners. I also thank many of them for beating some sense into my head. There were a number of them whom I would like to mention at this time – Fred Lara, Manny de la Cruz, Ike Kaawa, Bobby Lowe (who now represents Mas Oyama in Hawaii), Masaichi Oshiro (Goju-ryu representative for Gogen Yamaguchi), Paul Yamaguchi and many others who have passed on. I learned much from these men and because of them matured into the Martial Arts practitioner I am today. The workouts, the demonstrations, the parties, all memories of my past, but etched in my mind for all eternity.
After two years at the Brigham Young University in Provo, Utah, I was drafted into the Korean War in 1951 and managed to be stationed in Hawaii for two and a half years of my three year hitch with the U.S. Coast Guard (1951-1954). This gave me the opportunity to continue my studies with Chow on a full time basis. The more I studied, the more intrigued I became with Kenpo. I became even more preoccupied with Kenpo when forced, on several occasions, to use it to save my life. Knowing first hand of its effectiveness, the desire to teach Kenpo in the continental United States grew even stronger for me. I visualized the benefits that others would derive and the good it would do in developing character in our youth. Kenpo, without question, would not only instill confidence, but make independent leaders of our youth. Strong leadership is so needed in our country today and our youth are our only salvation.
Knowing I would soon be discharged from the U.S. Coast Guard (August 1954) and be returning to Brigham Young University, I talked with William Chow about the possibility of opening Kenpo Karate schools throughout the continental United States. This program was to commence upon my graduation from B.Y.U. I felt that a University degree was essential to solidify our plans. It would have a bearing in influencing the media. A degree would discourage others from looking upon us as just pugilists. Chow concurred and thought the plan would be feasible. He would be willing to take up residence in the continental United States.
Having established a successful school in Pasadena, California, I was now ready to bring Chow to the continental United States to pursue our plan to open a chain of Kenpo Karate studios. In September 1959, I flew to Hawaii for the first time in five years. I confronted Chow, reminded him of our expansion plan, and was told that I had his blessing; I was to carry on without him – I was to go it alone. My heart dropped to my stomach. I did not contemplate this change of plans. Chow explained that he didn’t think he could adjust to a new environment. He was basically shy and felt he would be out of place in the mainland (a term we use in Hawaii to describe the continental United States). As much as I tried to convince him otherwise, he stuck to his conviction. I honored his wish and commenced an expansion program on my own.
Full-scale success did not come easily. It was a long and difficult struggle. Although Chow’s answer was not anticipated there have been many other discouraging moments in my life. Determination and perseverance are the ingredients that have made my life fruitful.
My introduction to Kenpo originated at a church meeting. I was sixteen years old at the time when one of the members of the church I belonged to, Frank Chow, told a few of us how he had beaten a local bully. I knew the bully well and was aware of his victories in street fights. He was big and solid as granite. Not until Frank demonstrate the strategy he used did we believe him. With this rather brisk introduction, I became interested in this Oriental Art and began studying under Frank Chow. I became a Kenpo addict and Frank recognized my ardent wish to learn. Having boxed and having been involved in many street altercations myself, I questioned, disagreed, and stood corrected in my quest for sophisticated knowledge. I saw th value of this system if it became necessary for me to employ it on the street. Having learned Judo, and treasuring its merits, I nevertheless could see that handling two or more men was not a problem utilizing the Kenpo methods taught me. In Judo one ties himself up to one man too long. During these precious moments, your vulnerable areas are exposed for too long. Kenpo offered explosive action with minimum target exposure. I looked forward to every lesson only to be discouraged one day when Frank told me that he was ending our lessons.
Rejected and disappointed, I thought my Kenpo training had come to an end. Frank anticipated my disappointment and was happy to see this reaction. He explained that he had taken me as far as he could. He was not qualified to go beyond the lessons he had already taught me. He then instructed me to further my Kenpo education with his brother, William, who was a top instructor in Honolulu. With mixed emotions, I did visit and talk with William K.S. Chow. He was conducting a class at the Nuuanu Y.M.C.A. at the time of my visit and I was impressed with what I saw. Heretofore, it had only been Frank and I. I had no one to compare my ability with and this I could surmise would be a tremendous asset to be able to work with other practitioners. William K.S. Chow’s Kenpo Karate class was a selective group. Only upon the recommendation of another class member, could one be accepted as a pupil. I felt privileged to have known Frank Chow and grateful for my introduction to his brother, William. From the moment I witnessed William Chow move and appraised the ability of his students, a strong and spiritual feeling penetrated the very depth of my soul communicating to me that Kenpo would become my life’s work.
Working with others having varying arm and leg lengths, mannerisms, and methods of executing moves proved fruitful. It made me aware of the need to learn motion thoroughly. The ability to protect and hit from any angle thrilled me to no end. This knowledge increased my chances of being victorious on the street. This manner of thinking was typical at this point of my life, but changed in later years as I matured and was assured of my proficiency.
Adriano (Sonny) and Joe Emperado were senior students at the time of my acceptance as a student by William K.S. Chow. They were William Chow’s first graduating Black Belts in Kenpo Karate and I looked upon them with envy and respect. It wasn’t too long after that the two Emperado brothers opened their own school at the Palama Settlement in Honolulu. I visited them often and always received a cordial welcome. It was Adriano (Sonny) who, after his brother Joe’s death, formed his system of Kajukenbo. Kajukenbo is an off shoot of the Kenpo Karate system taught by William Chow, with advocates of this system found throughout the world.
There were many other students who branched away from William Chow'sKenpo Karate system. Each, however, had the greatest respect for Chow’s ability. He was not a tall man by any means, but fast, precise, and powerful. He never wasted motion and reminded me many times of a mongoose fighting a snake. He never exaggerated his defensive moves. He allowed an opponent’s punch to miss him by a – slight move, a miss, and bam! He’d be in at your vital area. He was good and I wanted to learn as much as I could from him. I followed him, questioned him, bugged him, and it paid off. He explained and stressed the need for modifications and additions and introduced me to master key movements which set me on the road to becoming a creative innovator. He knew that Kenpo was only in its infant stage of modification. Like Mitose’s family who had changed the art they had learned to suit the needs of the people of their time, Chow also felt there was a need to change the art to meet the needs of the American people at this time.
I treasured the time I spent with him and the revelations I obtained from our conversations and workouts. As I look back, I cannot thank him enough for setting me on a path of logical and realistic thinking.While the old methods of Mitose and Chow’s father are now obsolete, their contributions nevertheless are useful in terms of making analytical comparisons.
Chow’s classes were loaded with great practitioners. I also thank many of them for beating some sense into my head. There were a number of them whom I would like to mention at this time – Fred Lara, Manny de la Cruz, Ike Kaawa, Bobby Lowe (who now represents Mas Oyama in Hawaii), Masaichi Oshiro (Goju-ryu representative for Gogen Yamaguchi), Paul Yamaguchi and many others who have passed on. I learned much from these men and because of them matured into the Martial Arts practitioner I am today. The workouts, the demonstrations, the parties, all memories of my past, but etched in my mind for all eternity.
After two years at the Brigham Young University in Provo, Utah, I was drafted into the Korean War in 1951 and managed to be stationed in Hawaii for two and a half years of my three year hitch with the U.S. Coast Guard (1951-1954). This gave me the opportunity to continue my studies with Chow on a full time basis. The more I studied, the more intrigued I became with Kenpo. I became even more preoccupied with Kenpo when forced, on several occasions, to use it to save my life. Knowing first hand of its effectiveness, the desire to teach Kenpo in the continental United States grew even stronger for me. I visualized the benefits that others would derive and the good it would do in developing character in our youth. Kenpo, without question, would not only instill confidence, but make independent leaders of our youth. Strong leadership is so needed in our country today and our youth are our only salvation.
Knowing I would soon be discharged from the U.S. Coast Guard (August 1954) and be returning to Brigham Young University, I talked with William Chow about the possibility of opening Kenpo Karate schools throughout the continental United States. This program was to commence upon my graduation from B.Y.U. I felt that a University degree was essential to solidify our plans. It would have a bearing in influencing the media. A degree would discourage others from looking upon us as just pugilists. Chow concurred and thought the plan would be feasible. He would be willing to take up residence in the continental United States.
Having established a successful school in Pasadena, California, I was now ready to bring Chow to the continental United States to pursue our plan to open a chain of Kenpo Karate studios. In September 1959, I flew to Hawaii for the first time in five years. I confronted Chow, reminded him of our expansion plan, and was told that I had his blessing; I was to carry on without him – I was to go it alone. My heart dropped to my stomach. I did not contemplate this change of plans. Chow explained that he didn’t think he could adjust to a new environment. He was basically shy and felt he would be out of place in the mainland (a term we use in Hawaii to describe the continental United States). As much as I tried to convince him otherwise, he stuck to his conviction. I honored his wish and commenced an expansion program on my own.
Full-scale success did not come easily. It was a long and difficult struggle. Although Chow’s answer was not anticipated there have been many other discouraging moments in my life. Determination and perseverance are the ingredients that have made my life fruitful.
Sunday, October 28, 2018
“The Special Techniques of Kenpo”
(from the Ed Parker Sr. Facebook page 9-23-18)
“The reason I give my techniques names is because there are certain sequences associated with these terms. If I told a student tomo...rrow that I was going to teach him a counter version to a double hand grab, it’s not as meaningful as when I say I’m going to teach him ‘Parting Wings’. It’s not explained, basically, but it sounds intriguing. There’s a little mystique and the student looks forward to learning what this is. And though each term I use had a particular sequence I want students to follow, these are ideas and not rules. At any given moment they may alter these ideas.” -Ed Parker Sr.
Black Belt Magazine
August 1979
.
August 1979
.
Friday, August 25, 2017
Ed Parker Defends his Tournament
(Black Belt magazine, February 1967)
I wish to thank you for the eight page story and review of the 1966 International Karate Championships. It was terrific recognition of an outstanding event, and the more than a dozen photographs graphically illustrated some of the highlights of the event.
international Kenpo Karate
Pasadena, California
Friday, November 4, 2016
Is Self-Defense really necessary?
(by Ed Parker, Iron Man Magazine, Oct. 1958)
Self-defense is indeed necessary. The old theory that it can never happen to me is little comfort when it really does happen. No sensible person can assume that all trouble happens to just certain persons or just a certain group of persons. It can happen any time without warning. If not today, perhaps tomorrow, if not tomorrow it will surely take place in one's lifetime. Kenpo Karate prepares one for such a crisis. Regardless of the seriousness of the situation, knowledge of Kenpo Karate will truly prove invaluable.
Only a few weeks ago a friend of one my students came to my school and expressed that ever-so-common phrase, "trouble will never come my way so why should I take any self-defense course?" A week after our first meeting he came to me again, only this time with determination to acquire defensive training. The same night of our first meeting he was attacked by two hoods who had no reason for their actions. While bending over to open his briefcase one of the hoods approached from the side and caught him on the jab with a staggering right punch. Stunned he turned to see who struck him; at that moment the other assailant kicked him in the groin. Dropping with pain, he watched as his attackers casually walked away.
There have been many like incidents lately and attacks of this nature are on the increase. We read about them daily in the local newspapers. To the average citizen these incidents mean nothing since they do not concern them. We would feel sorry if that were to happen to our friends, but we would chalk it up as a "bad break" and possibly say, "poor guy, he was unlucky." Not until it actually happens to us do we try to prepare ourselves.
Although this modern world that we live in is eliminating many of our old problems it is creating new ones. The strength, endurance, and hardy physique we were once dependent upon to protect our country, or families and ourselves is being lost in our new easy going way of life. Transportation by buses, cars, elevators, escalators, etc., all save countless hours of effort during our day. They have become a necessity, but something else is now needed to compensate for the lessened physical activity and the great amount of time on our hand s.
Not knowing what to do with this enormous amount of free time, many of our young people are seeking outlets. Some are frequenting reputable organizations such as the YMCA, commercial gyms and athletic clubs. Unfortunately, there are others who misuse their time and do things that are not constructive. Because of idleness and boredom, some of their activities are steered toward stealing, street fighting and other vices.
Present day fighting has changed somewhat from the old days when men fought one man at a time, regardless of number. To find this type of ethics in present day fighting is rate. The size of a person is no barrier to those who collect in great numbers. Big or small, heavy or light, the odds are increased proportionately. Even age and sex mean nothing to those who seek what they term entertainment.
Kenpo Karate is the answer in combating this unethical way of fighting. It teaches one how to fell an opponent through the manipulation of the hands, feet, knees and elbows. Each blow is delivered swiftly and precisely so that very little time is spent on one man. The coordination developed is such that three opponents can receive a blow at exactly the same precise moment. Using the many parts of the body as weapons, combined with the knowledge of maneuverability, a person with knowledge of Kenpo Karate can be equivalent to five or more men.
Saturday, November 7, 2015
The Secrets of Speed
(Black Belt Magazine Oct. 1989 V-27 No. 10)
Legendary karate pioneer Ed Parker begins his sojourn as a Black Belt columnist this month in our continuing effort to bring readers the most knowledgeable essayist in the martial arts. Parker, one of the true greats of the martial arts world and a Black Belt Hall of Fame member, is a storehouse of memories and anecdotes about people ranging from Bruce Lee to Elvis Presley. He is also perhaps the world's leading authority on Kenpo karate. We think you'll find his monthly column amusing, informative, and downright fascinating. – Ed.
To understand karate techniques and how they function, you must have knowledge of physics. You must study the body and learn how the senses - through the principles of mass, speed, body alignment, angles, momentum, gravitational marriage, torque, focus, stability, power, and penetration - can make the body function intuitively. An in-depth study of these principles of physics will also reveal the sophistication contained within basic techniques.
"He who hesitates meditates in a horizontal position" is a statement that I use to imply the need for prompt action. It is a statement referring to speed. "Do it now," “I wanted done this instant," You’d better be fast," and "Be quick about it" all are phrases that imply speed or hasten velocity regardless of direction. As we study these terms, we learn that they are concepts related to distance and time. By definition, speed is equal to the distance divided by the time it takes to move.
Speed, however, goes beyond this definition. Like the Eskimo who uses a number of terms to describe the types of snow, we too must distinguish and categorize speed to make it meaningful to the karate enthusiast. There are three categories of speed: perceptual, mental and physical. However, while the categories are separated in order to analyze why to speed in tales, they function as one.
Perceptual speed is the quickness of the senses in: monitoring the stimulus they receive; determining the meaning of the stimulus; and conveying the information to the brain so that mental speed can arrange the proper response. To the karate practitioner, it is the feel or smell of trouble, a sound, sign or gesture that suggests trouble, the site of an incoming strike, or the opportunity to attack or counterattack. The speed of this type can be increased by maintaining alertness and by conditioning the senses to develop environmental awareness.
Mental speed is the quickness of the mind to select appropriate movements to effectively deal with the incoming stimulus. Speed of this type can only be increased by practicing various karate techniques on a regular basis. This involves learning the techniques to a point of total familiarity and instinctive response. As you broaden your knowledge of combat alternatives, and can tap into the movements and concepts stored in your subconscious, the speed of your instinctive response increases.
Physical speed is the quickness of physical movement - fluency in response to stimulus, and the speed in which one executes the technique. The speed of this type can be increased through stretching, body conditioning, and other methods of training. Stretching exercises helps increase elasticity, which automatically develops a reach. Body conditioning prevents fatigue and allows a high level of speed to be maintained for longer periods of time.
Knowledge of the principles of economy of motion also contributes to speed. It helps you avoid erroneous angles and teaches you how to administer your strength. This principle stresses the importance of: being relaxed when striking, tensing only at the moment of impact; making one aware that time is crucial; using movements that follow direct angles and paths; eliminating "telegraphing" of techniques unless as a means of deceptive strategy; continuity, flow, and rhythm; responding to combat from natural postures; learning about target accessibility; and distance, or range.
In conclusion, while speed often enhances power, it is not the root of power. Synchronization of body mass and speed is a major ingredient that creates power.
Legendary karate pioneer Ed Parker begins his sojourn as a Black Belt columnist this month in our continuing effort to bring readers the most knowledgeable essayist in the martial arts. Parker, one of the true greats of the martial arts world and a Black Belt Hall of Fame member, is a storehouse of memories and anecdotes about people ranging from Bruce Lee to Elvis Presley. He is also perhaps the world's leading authority on Kenpo karate. We think you'll find his monthly column amusing, informative, and downright fascinating. – Ed.
To understand karate techniques and how they function, you must have knowledge of physics. You must study the body and learn how the senses - through the principles of mass, speed, body alignment, angles, momentum, gravitational marriage, torque, focus, stability, power, and penetration - can make the body function intuitively. An in-depth study of these principles of physics will also reveal the sophistication contained within basic techniques.
"He who hesitates meditates in a horizontal position" is a statement that I use to imply the need for prompt action. It is a statement referring to speed. "Do it now," “I wanted done this instant," You’d better be fast," and "Be quick about it" all are phrases that imply speed or hasten velocity regardless of direction. As we study these terms, we learn that they are concepts related to distance and time. By definition, speed is equal to the distance divided by the time it takes to move.
Speed, however, goes beyond this definition. Like the Eskimo who uses a number of terms to describe the types of snow, we too must distinguish and categorize speed to make it meaningful to the karate enthusiast. There are three categories of speed: perceptual, mental and physical. However, while the categories are separated in order to analyze why to speed in tales, they function as one.
Perceptual speed is the quickness of the senses in: monitoring the stimulus they receive; determining the meaning of the stimulus; and conveying the information to the brain so that mental speed can arrange the proper response. To the karate practitioner, it is the feel or smell of trouble, a sound, sign or gesture that suggests trouble, the site of an incoming strike, or the opportunity to attack or counterattack. The speed of this type can be increased by maintaining alertness and by conditioning the senses to develop environmental awareness.
Mental speed is the quickness of the mind to select appropriate movements to effectively deal with the incoming stimulus. Speed of this type can only be increased by practicing various karate techniques on a regular basis. This involves learning the techniques to a point of total familiarity and instinctive response. As you broaden your knowledge of combat alternatives, and can tap into the movements and concepts stored in your subconscious, the speed of your instinctive response increases.
Physical speed is the quickness of physical movement - fluency in response to stimulus, and the speed in which one executes the technique. The speed of this type can be increased through stretching, body conditioning, and other methods of training. Stretching exercises helps increase elasticity, which automatically develops a reach. Body conditioning prevents fatigue and allows a high level of speed to be maintained for longer periods of time.
Knowledge of the principles of economy of motion also contributes to speed. It helps you avoid erroneous angles and teaches you how to administer your strength. This principle stresses the importance of: being relaxed when striking, tensing only at the moment of impact; making one aware that time is crucial; using movements that follow direct angles and paths; eliminating "telegraphing" of techniques unless as a means of deceptive strategy; continuity, flow, and rhythm; responding to combat from natural postures; learning about target accessibility; and distance, or range.
In conclusion, while speed often enhances power, it is not the root of power. Synchronization of body mass and speed is a major ingredient that creates power.
Friday, November 6, 2015
Beginnings
(Black Belt Magazine Nov. 1989 V-27 No.11)
It seems as though only a short time has elapsed since I began my venture into the karate profession. I started teaching commercially in 1954 at a gymnasium in Provo, Utah, and also held a self-defense course for law enforcement agencies at Brigham Young University. After graduating from college with no experience in business, I moved to Pasadena, California, and opened my own school in September, 1956. I was determined and confident I could make it, and as I look back, I found that my ignorance really worked in my favor. Had I listened to my experienced business advisors, who would have warned me of all the pitfalls of my profession, I would never have been successful.
The following true story is a good analogy. A black belt was hired to protect a rock group on tour. A party was held on closing night, and a gate-crasher and his friends got out of hand. Their leader attacked the black belt, but he found he had overestimated his ability and was badly defeated. As his friends escorted him out, they yelled to the black belt "You'll regret this! This is the national heavyweight boxing champion!" Would the black belt have been as effective had he had previous knowledge of the party crashers identity? Would I have been effective if I had been told about the pitfalls that awaited me in the martial arts business?
At the time of my schools opening, there was no one in the karate business to appraise me of their experiences; there was no track record for me to follow. Learning the basic principles of business is not enough, because they are not the same for all businesses. A recent case in point: a very successful insurance executive decided he wanted to get into the karate business. I was consulted and gave him my advice. His plan to have big businesses sponsor underprivileged kids was a valid idea most of us in the profession had not considered. We have brought sponsors into the tournament scene, but not into the schools. After listening to his plan, I was impressed. However, as he revealed other aspects of his plan, I knew that his business practices would clash with ours. His monthly overhead, not including salaries and other miscellaneous expenses, was $15-16,000 a month. To meet these expenses he would have needed 400 regular students. To pay salaries, another 100 to 150 regular students would be required. I predicted he would stay in business a year. I was wrong. He closed in six months.
"Tailoring" is a very important concept. In Kenpo karate, tailoring describes your ability to fit moves to your body size, makeup, speed, and strength in order to maximize your physical efforts. Tailoring is also viewed as the ability to adjust your attitude to fit each situation. These concepts also apply to business. What works in one business may not work in another. Likewise, teaching and business procedures at a karate school will vary from one country to another, state to state and city to city. Economic conditions, ordinances, age groups, an annual income are some of the considerations that change with time and must be heeded.
One of those considerations is competition. Many of us have read about the Old West, with its gunfighters and challenges. Similarly, during my early years in business, I too became acquainted with challenges. Since karate was virtually unknown during the early 50s, I had my share of challengers. Because I had the only commercial school listed in the Yellow Pages, I was frequently sought out. I once had a challenger who said he was a "jujeeti" expert. He couldn't even pronounce the word "jujitsu" correctly. As much as I tried to avoid a confrontation, he persisted. You can only take so much, so I gave in. He proceeded to stalk me, traveling clockwise, and I faked a right punch. He attempted to grab my punch with his right hand and I instantly contoured the underside of his right arm and executed a right inward elbow strike to his upper rib cage, cracking a number of ribs. It was my intention to knock the wind out of them, not the fracture his ribs. As I escorted him out of the school, I felt remorse for what I had done, but I was angry with him for placing me in such a position.
I recall another incident where the gentleman in question did not actually challenge me, but felt he had the fastest hands in town. He wished to prove to me that he could block any punch directed to his head or body. I shot a right punch, and he blocked it successfully. I've been shot a left punch, which he blocked. I commented "Hey, you're really good." As his head swelled, I asked if he could block a right and the left punch combination. He again succeeded. I then delivered a left and a right combination. He beamed as he successfully blocked my blows. I commented that I had met a lot of martial artist, but that he was the best I had seen. His head was now so swollen he could have floated to the ceiling.
My last comment to him was "Can you block a right “with” a left combination?" He nodded his head, indicating he could. As I simultaneously delivered both punches, he blocked my right punch and was drilled in the face with my left. He did not expect to punches delivered at the same time, which is what I countered on.
That was one of the ways I used my wits to survive in the early days of karate.
It seems as though only a short time has elapsed since I began my venture into the karate profession. I started teaching commercially in 1954 at a gymnasium in Provo, Utah, and also held a self-defense course for law enforcement agencies at Brigham Young University. After graduating from college with no experience in business, I moved to Pasadena, California, and opened my own school in September, 1956. I was determined and confident I could make it, and as I look back, I found that my ignorance really worked in my favor. Had I listened to my experienced business advisors, who would have warned me of all the pitfalls of my profession, I would never have been successful.
The following true story is a good analogy. A black belt was hired to protect a rock group on tour. A party was held on closing night, and a gate-crasher and his friends got out of hand. Their leader attacked the black belt, but he found he had overestimated his ability and was badly defeated. As his friends escorted him out, they yelled to the black belt "You'll regret this! This is the national heavyweight boxing champion!" Would the black belt have been as effective had he had previous knowledge of the party crashers identity? Would I have been effective if I had been told about the pitfalls that awaited me in the martial arts business?
At the time of my schools opening, there was no one in the karate business to appraise me of their experiences; there was no track record for me to follow. Learning the basic principles of business is not enough, because they are not the same for all businesses. A recent case in point: a very successful insurance executive decided he wanted to get into the karate business. I was consulted and gave him my advice. His plan to have big businesses sponsor underprivileged kids was a valid idea most of us in the profession had not considered. We have brought sponsors into the tournament scene, but not into the schools. After listening to his plan, I was impressed. However, as he revealed other aspects of his plan, I knew that his business practices would clash with ours. His monthly overhead, not including salaries and other miscellaneous expenses, was $15-16,000 a month. To meet these expenses he would have needed 400 regular students. To pay salaries, another 100 to 150 regular students would be required. I predicted he would stay in business a year. I was wrong. He closed in six months.
"Tailoring" is a very important concept. In Kenpo karate, tailoring describes your ability to fit moves to your body size, makeup, speed, and strength in order to maximize your physical efforts. Tailoring is also viewed as the ability to adjust your attitude to fit each situation. These concepts also apply to business. What works in one business may not work in another. Likewise, teaching and business procedures at a karate school will vary from one country to another, state to state and city to city. Economic conditions, ordinances, age groups, an annual income are some of the considerations that change with time and must be heeded.
One of those considerations is competition. Many of us have read about the Old West, with its gunfighters and challenges. Similarly, during my early years in business, I too became acquainted with challenges. Since karate was virtually unknown during the early 50s, I had my share of challengers. Because I had the only commercial school listed in the Yellow Pages, I was frequently sought out. I once had a challenger who said he was a "jujeeti" expert. He couldn't even pronounce the word "jujitsu" correctly. As much as I tried to avoid a confrontation, he persisted. You can only take so much, so I gave in. He proceeded to stalk me, traveling clockwise, and I faked a right punch. He attempted to grab my punch with his right hand and I instantly contoured the underside of his right arm and executed a right inward elbow strike to his upper rib cage, cracking a number of ribs. It was my intention to knock the wind out of them, not the fracture his ribs. As I escorted him out of the school, I felt remorse for what I had done, but I was angry with him for placing me in such a position.
I recall another incident where the gentleman in question did not actually challenge me, but felt he had the fastest hands in town. He wished to prove to me that he could block any punch directed to his head or body. I shot a right punch, and he blocked it successfully. I've been shot a left punch, which he blocked. I commented "Hey, you're really good." As his head swelled, I asked if he could block a right and the left punch combination. He again succeeded. I then delivered a left and a right combination. He beamed as he successfully blocked my blows. I commented that I had met a lot of martial artist, but that he was the best I had seen. His head was now so swollen he could have floated to the ceiling.
My last comment to him was "Can you block a right “with” a left combination?" He nodded his head, indicating he could. As I simultaneously delivered both punches, he blocked my right punch and was drilled in the face with my left. He did not expect to punches delivered at the same time, which is what I countered on.
That was one of the ways I used my wits to survive in the early days of karate.
Thursday, November 5, 2015
Memories of Bruce
(Black Belt Magazine Dec. 1989 V-27 No. 12)
I traveled extensively throughout Northern California during the 1960s. My travels afforded me the opportunity to meet and become friends with many kung fu masters and their students.
Among the close friends I made during this time was the late James Lee. He and I spent hours comparing the concepts and principles of his kung fu and my Kenpo. Although he was not a big man, he was tremendously powerful. He could break a six bricks with a single back fist. You could select the brick you wanted him to break, and he could break it without disturbing any of the other bricks. He was wiry, full of energy, and always seeking the ultimate challenge.
In September or October of 1963, I received a call from Jimmy. His voice is full of excitement and he could hardly contain himself. "Ed," he said, "I just met this kid from Seattle who you've got a meet. He is a Wing Chun man and he is something else! Not only is he fast, but boy does he pack a wallop! He isn't big, but he hit me with a one-inch punch and sent me clear across my garage - at least 15 to 20 feet. Unbelievable, unbelievable. I've never seen or felt anything like it."
I was finally able to get a few words in and ask him who this guy was, where he was from, and where he got his training, and other questions. Jim said "his name is Bruce Lee. He was born in San Francisco, and spent most of his life in Hong Kong, where he practiced Wing Chun."
I consented to meet Bruce in Oakland, California, where James Lee lived.
When I first met him, he struck me as clean-cut and handsome. He was extremely friendly, joked continually, and was obviously a philosophy buff, judging from his conversation.
He proceeded to discuss his martial art and its merits, along with his own concepts. Then he began to punch, and the sleeve of his windbreaker literally "popped" the air. His movements were graceful, crisp, and powerful. As I observed his technique, I could see his unyielding balance as his body settled with each punch. He had obviously mastered the concepts of body momentum and precise angles of impact. These factors contributed to his power.
Once I observed Bruce’s extraordinary talent, I knew that I should introduce Bruce to the film and television producers and directors I knew. A number of TV and movie people were expected to attend my first International Karate Championships in 1964 in Long Beach, California, so I asked Bruce to demonstrate his skills there. Bruce's demonstration was captured on film, and after the tournament I show the film to producer Bill Dozier, who hired Bruce as Kato for his Green Hornet television series. The rest is history.
I still think about the times that Bruce and I have spent traveling from coast-to-coast, and the memorable discussions we had. He once asked me which of the nation's three top point karate fighters generated the most power on contact. When I gave him my answer, he was shocked, because I had made the same choice after he had worked out with all three of them.
"Tell me how you knew," he said.
I answered, "because of the synchronized timing of body mass with the strike. That's why you're good, Bruce. Upon impact, your whole body is in focus with your natural weapon."
He looked at me for a while, and with a slight smirk on his face, comfortably sat back in his chair.
On another occasion, Bruce told me of his experiences on a live TV show in Hong Kong, where he and four other kung fu masters were asked to demonstrate their skills. The first master settled into a stance and invited a second master to throw him off balance. The second master was not able to do so, nor was the third. The first master then told Bruce, "hey, you young punk, you come up and try."
Bruce, ignoring the gentleman's impoliteness, calmly stood before him, settled into his stance, then punched the master in the face and dropped him. Bruce said "When I fight, I punch, I don't push."
That was Bruce.
I traveled extensively throughout Northern California during the 1960s. My travels afforded me the opportunity to meet and become friends with many kung fu masters and their students.
Among the close friends I made during this time was the late James Lee. He and I spent hours comparing the concepts and principles of his kung fu and my Kenpo. Although he was not a big man, he was tremendously powerful. He could break a six bricks with a single back fist. You could select the brick you wanted him to break, and he could break it without disturbing any of the other bricks. He was wiry, full of energy, and always seeking the ultimate challenge.
In September or October of 1963, I received a call from Jimmy. His voice is full of excitement and he could hardly contain himself. "Ed," he said, "I just met this kid from Seattle who you've got a meet. He is a Wing Chun man and he is something else! Not only is he fast, but boy does he pack a wallop! He isn't big, but he hit me with a one-inch punch and sent me clear across my garage - at least 15 to 20 feet. Unbelievable, unbelievable. I've never seen or felt anything like it."
I was finally able to get a few words in and ask him who this guy was, where he was from, and where he got his training, and other questions. Jim said "his name is Bruce Lee. He was born in San Francisco, and spent most of his life in Hong Kong, where he practiced Wing Chun."
I consented to meet Bruce in Oakland, California, where James Lee lived.
When I first met him, he struck me as clean-cut and handsome. He was extremely friendly, joked continually, and was obviously a philosophy buff, judging from his conversation.
He proceeded to discuss his martial art and its merits, along with his own concepts. Then he began to punch, and the sleeve of his windbreaker literally "popped" the air. His movements were graceful, crisp, and powerful. As I observed his technique, I could see his unyielding balance as his body settled with each punch. He had obviously mastered the concepts of body momentum and precise angles of impact. These factors contributed to his power.
Once I observed Bruce’s extraordinary talent, I knew that I should introduce Bruce to the film and television producers and directors I knew. A number of TV and movie people were expected to attend my first International Karate Championships in 1964 in Long Beach, California, so I asked Bruce to demonstrate his skills there. Bruce's demonstration was captured on film, and after the tournament I show the film to producer Bill Dozier, who hired Bruce as Kato for his Green Hornet television series. The rest is history.
I still think about the times that Bruce and I have spent traveling from coast-to-coast, and the memorable discussions we had. He once asked me which of the nation's three top point karate fighters generated the most power on contact. When I gave him my answer, he was shocked, because I had made the same choice after he had worked out with all three of them.
"Tell me how you knew," he said.
I answered, "because of the synchronized timing of body mass with the strike. That's why you're good, Bruce. Upon impact, your whole body is in focus with your natural weapon."
He looked at me for a while, and with a slight smirk on his face, comfortably sat back in his chair.
On another occasion, Bruce told me of his experiences on a live TV show in Hong Kong, where he and four other kung fu masters were asked to demonstrate their skills. The first master settled into a stance and invited a second master to throw him off balance. The second master was not able to do so, nor was the third. The first master then told Bruce, "hey, you young punk, you come up and try."
Bruce, ignoring the gentleman's impoliteness, calmly stood before him, settled into his stance, then punched the master in the face and dropped him. Bruce said "When I fight, I punch, I don't push."
That was Bruce.
Wednesday, November 4, 2015
Taking the Fall
(Black Belt Magazine Jan. 1990 V-28 No. 1)
Falling, diving and rolling are essential ingredients of the martial arts. While most people associate falling with jujitsu, judo or aikido, Kenpo karate also encourages its study and practice. The ground can be an enemy; knowledge of falling, diving and rolling can avert injury.
A person falls to avoid being hit (defense), or falls after being hit or thrown (offense). Falling is an exaggerated method of “riding” an attack. Although riding normally is done while remaining upright, it can be combined with a fall, roll or turn.
When learning to fall, students must contemplate methods of landing safely. They must learn to: dissipate the force of the fall to reduce or limit injury; control breathing to limit loss of air upon impact; and make every effort to quickly regain a proper defensive posture.
Falling also requires proper use of the kiai (yell). Employing the kiai reduces natural buoyancy, so exhaling on impact prevents hitting the ground with air still in the lungs. If the lungs are even partially filled with air, there is the possibility of broken ribs, because tightening of the abdominal muscles is limited. However, exhaling completely tightens the abdominal muscles during the fall and minimizes injury and damage by helping the body to absorb the shock. It is also necessary to tuck the “hard corners” of the body (head, shoulders, elbows, knees, etc.) toward the more muscular areas of the torso. This allows the body to support and brace its joints prior to impact with the ground. This tuck posture not only decreases injury, but places the body in proper alignment to defend or attack with increased effectiveness.
The limbs also play an integral part in dissipating the shock of a fall. The limbs are used to slap the ground upon impact, which disperses the body weight over a wider surface, like having a book fall flat rather than on its corner. Your limbs can also be used aggressively; instead of breaking your fall, you may with to direct it toward an opponent already on the ground in the hope of hurting him. With proper timing, the power of gravity can be added to the power of the fall.
Dives are unique moves that employ springs and flips. These maneuvers are quite exaggerated and are used to avoid an attack, work in conjunction with an attack, or can be combined as a defense and offense.
The same procedures used to reduce injuries during a fall also relate to dives. While a forward stomach dive may require use of your arms to help disperse the weight in your fall, most dives are followed by a roll. It is the momentum of the dive and roll that disperses the weight throughout the body upon impact, thus reduces shock and injury.
Rolling consists of two types; a standing method employing a ride and turn to avoid an attack, and a revolving maneuver using the ground to travel from one point to another. It is the continuous, revolving flow of action that helps to cushion the impact of the body when meeting the ground. This revolving maneuver may be used to avoid an attack by increasing distance, or can be used strategically to close the distance between you and an opponent, as well to increase the force of your counterattack. In either case, rolls revolve from a 180-degree radius to a 360-degree radius. Rolls have the same flexibility as other falling methods and can be employed while simultaneously counterattacking.
Falls, dives and rolls come in several varieties. There are back, front and side falls. There are shoulder, head-and-shoulder, and back head and chest dives. Rolls can go to the front, side, or back. These may be combined with other foot and body maneuvers, such as step through, shuffles, crossovers, jumps, flips, turns and rides, to achieve maximum effectiveness. These maneuvers may be used in any combination deemed necessary to serve the purpose. The combinations you choose should be appropriate for the situation.
Tuesday, November 3, 2015
New Dimensions
(Black Belt Magazine Feb. 1990 V-28 No. 2)
We often hear the terms gap, space, distance, and range used interchangeable in the martial arts. In truth these terms each have distinct and separate characteristics of their own. In the dictionary, a gap is defined as “a separation in space.” Space is “a limited extent in one, two, or three dimensions: distance, area, volume.” Distance is “the degree or amount of separation between two points.” And range is “the space or extent included, covered, or used.”
These terms all describe the martial arts’ dimensional stages of action. These martial arts techniques use space in all its aspects: height, width, depth, and direction. They also utilize the distances that maintain, control, close and open the gap (fighting distance). They employ long-, medium-, and close-range techniques in sequences while closing in on an opponent or when defending. They include a staggering amount of alternatives for close-range techniques, including various locks and chokes, twists, dislocations, holds, and takedowns.
Gauging the distance between you and your opponent when defending or attacking requires a thorough study of the dimensional stages of action. It involves choice of weapon and target, arm and leg lengths of both your and your opponent, foot and body maneuvers, speed and accuracy, and reaction time. You must consider intentional and unintentional moves, deceptive and deliberate moves, checking (pressing, pinning, or jamming), and nullifying moves made while simultaneously striking. It further includes considering height, width, and depth zones, restrictions such as environmental encumbrances or tournament rules, or lack of restrictions (no rules, anything goes), and the possibility of injury. Only with all this information can you determine the dimensional stages necessary to defend or attack with success. It is not simple.
You should become acquainted with the different stages of range within the gap between you and your opponent. They are crucial in combat as well as in tournament competition. Range refers to what you can do with the gap. There are four stages of range that should concern you: out of contact; within contact; contact penetration; and contract manipulation.
Out-of-contact range refers to that stage of distance that places you out of the reach of your opponent, or vice versa. Unless foot and body maneuvers are used to bridge this distance, conditions are generally safe. Contact range means exactly what it implies – the distance in which you or your opponent can be reached. An injury incurred at this range may not be as crucial, but damage nonetheless can occur. Contact-penetration range refers to the distance in which a weapon can effectively penetrate to a target, thus magnifying the damage or injury that can occur. Contact-manipulation range entails controlling an opponent. At this range, injury can be administered through locks and chokes, twists, dislocations, holds, and takedown.
The four stages of range pertain to depth. Space that exists between low and high points relates to height. Space that separates points from left to right involves the dimension of width. All action that bridges the gap that exists in height, width, or depth falls into this complex but vital theory called dimensional stages of action.
We often hear the terms gap, space, distance, and range used interchangeable in the martial arts. In truth these terms each have distinct and separate characteristics of their own. In the dictionary, a gap is defined as “a separation in space.” Space is “a limited extent in one, two, or three dimensions: distance, area, volume.” Distance is “the degree or amount of separation between two points.” And range is “the space or extent included, covered, or used.”
These terms all describe the martial arts’ dimensional stages of action. These martial arts techniques use space in all its aspects: height, width, depth, and direction. They also utilize the distances that maintain, control, close and open the gap (fighting distance). They employ long-, medium-, and close-range techniques in sequences while closing in on an opponent or when defending. They include a staggering amount of alternatives for close-range techniques, including various locks and chokes, twists, dislocations, holds, and takedowns.
Gauging the distance between you and your opponent when defending or attacking requires a thorough study of the dimensional stages of action. It involves choice of weapon and target, arm and leg lengths of both your and your opponent, foot and body maneuvers, speed and accuracy, and reaction time. You must consider intentional and unintentional moves, deceptive and deliberate moves, checking (pressing, pinning, or jamming), and nullifying moves made while simultaneously striking. It further includes considering height, width, and depth zones, restrictions such as environmental encumbrances or tournament rules, or lack of restrictions (no rules, anything goes), and the possibility of injury. Only with all this information can you determine the dimensional stages necessary to defend or attack with success. It is not simple.
You should become acquainted with the different stages of range within the gap between you and your opponent. They are crucial in combat as well as in tournament competition. Range refers to what you can do with the gap. There are four stages of range that should concern you: out of contact; within contact; contact penetration; and contract manipulation.
Out-of-contact range refers to that stage of distance that places you out of the reach of your opponent, or vice versa. Unless foot and body maneuvers are used to bridge this distance, conditions are generally safe. Contact range means exactly what it implies – the distance in which you or your opponent can be reached. An injury incurred at this range may not be as crucial, but damage nonetheless can occur. Contact-penetration range refers to the distance in which a weapon can effectively penetrate to a target, thus magnifying the damage or injury that can occur. Contact-manipulation range entails controlling an opponent. At this range, injury can be administered through locks and chokes, twists, dislocations, holds, and takedown.
The four stages of range pertain to depth. Space that exists between low and high points relates to height. Space that separates points from left to right involves the dimension of width. All action that bridges the gap that exists in height, width, or depth falls into this complex but vital theory called dimensional stages of action.
Monday, November 2, 2015
"The King" and I
(Black Belt Magazine March 1990 V-28 No. 3)
On an afternoon in 1960, I gave a demonstration for a group of physicians at the Beverly Wilshire Hotel in Los Angeles. Those who had gathered to see my and my students were full of enthusiasm, and were extremely amazed and pleased with our demonstration. As the group began to leave, I was shocked to see Elvis Presley present in the audience with his entourage and friends. Elvis approached me and said “I don’t think you know me, but my name is Elvis Presley.” I laughed inwardly, impressed by his humility. We went out by the hotel pool and spent about three hours talking. That day was the beginning of a close friendship that endured for 17 years.
Elvis told me of his great interest in karate. He mentioned that he had studied karate on a limited scale while in the army. He also mentioned that his mother had been very protective of him. He was not allowed to participate in any athletic activities at school or on the playground; the possibility of his being injured was his mother’s constant fear. He regretted not having participated in football or other athletic activities while he was in school, and he desired to participate in a contact sport.
Elvis felt that karate was the answer to his years of inactivity. He said he had noticed that my system was obviously innovative. He had been introduced to a rigid, traditional style of karate while stationed in West Germany, but preferred the fluidity of my style’s movements. Noting my system’s diverse methods of attack and defense, he said “It’s obvious that you are a rebel in your field, as I am in mine.” That was a great compliment, and was one of the points that solidified our friendship. Not long after, he began training with me in Kenpo.
I was impressed with Elvis’ questions. He was not a “know-it-all”; he listened intently to what I had to say and didn’t interrupt. He was always attentive, congenial, and enthused about new knowledge. No matter what the subject or who was teaching it, he remained attentive, curious, and fully engrossed in the topic at hand.
Elvis studied Kenpo primarily at his Beverly Hills home, but also while on tour, and occasionally at my West Los Angeles studio. He was an intense person; when the sprit moved him, he would study for days on end. Determination was a big part of his character. He prodded, pried and questioned. He was not only interested in how, but in why as well. He was intrigued with the logic of what I taught. He enjoyed my analogies to life’s experiences, which helped him understand Kenpo’s principles more precisely. He appreciated the realistic approaches to encounters. There were occasions when he wanted to feel the moves, wanted to be hit. He wanted to be assured that the moves he was being taught really worked. I can vividly remember his boyish grin when he was convinced that the techniques did work.
Elvis’ martial arts training greatly influenced his performances on stage. While his body language thrilled the girls, his use of Kenpo on stage did much to create interest in the martial arts. One of Elvis’ most interesting uses of Kenpo came when he would drop into a karate stance at the end of each of his concerts. He would assume a wide forward bow stance, placing his right arm above his head with his right forearm parallel to the ground, and his left arm positioned in an “L” pattern at chest level. If I was on tour with him, he would assume this pose while facing stage right, and look at me to see whether he should leave the stage in that direction. If I told him “Yes,” he would go that way. If I told him “No,’ he would assume the same pose facing stage left, get confirmation from me, and be off the stage like a shot in that direction. The audience never really knew the meaning of this pose; they just thought he was being dramatic. In reality, he was paying tribute to the martial arts.
Elvis did receive a black belt from me, and he is one of those listed under my family tree of black belts. However, Elvis was far greater as a singer and as a humanitarian.
I’d like to conclude with a story Elvis once told me. While stationed in West Germany, he was scheduled to go out on winter combat maneuvers. Elvis was looking forward to the maneuvers, but he later received orders that he was to be exempted from participating. Instead, he was given special permission to fly out of West Germany on the Pope’s private plane to entertain a private party. But Elvis refused. He said “If my buddies have to go out into the field and freeze their buns, so will I.” That was Elvis – refusing an invitation from the Pope himself for the good of his pals.
Elvis, like Bruce Lee, was one of a kind in his field. To this very day, I ask myself why I was a part of both their lives. Though I’m not sure of the answer, I do know that Elvis and Bruce were a memorable part of my life.
On an afternoon in 1960, I gave a demonstration for a group of physicians at the Beverly Wilshire Hotel in Los Angeles. Those who had gathered to see my and my students were full of enthusiasm, and were extremely amazed and pleased with our demonstration. As the group began to leave, I was shocked to see Elvis Presley present in the audience with his entourage and friends. Elvis approached me and said “I don’t think you know me, but my name is Elvis Presley.” I laughed inwardly, impressed by his humility. We went out by the hotel pool and spent about three hours talking. That day was the beginning of a close friendship that endured for 17 years.
Elvis told me of his great interest in karate. He mentioned that he had studied karate on a limited scale while in the army. He also mentioned that his mother had been very protective of him. He was not allowed to participate in any athletic activities at school or on the playground; the possibility of his being injured was his mother’s constant fear. He regretted not having participated in football or other athletic activities while he was in school, and he desired to participate in a contact sport.
Elvis felt that karate was the answer to his years of inactivity. He said he had noticed that my system was obviously innovative. He had been introduced to a rigid, traditional style of karate while stationed in West Germany, but preferred the fluidity of my style’s movements. Noting my system’s diverse methods of attack and defense, he said “It’s obvious that you are a rebel in your field, as I am in mine.” That was a great compliment, and was one of the points that solidified our friendship. Not long after, he began training with me in Kenpo.
I was impressed with Elvis’ questions. He was not a “know-it-all”; he listened intently to what I had to say and didn’t interrupt. He was always attentive, congenial, and enthused about new knowledge. No matter what the subject or who was teaching it, he remained attentive, curious, and fully engrossed in the topic at hand.
Elvis studied Kenpo primarily at his Beverly Hills home, but also while on tour, and occasionally at my West Los Angeles studio. He was an intense person; when the sprit moved him, he would study for days on end. Determination was a big part of his character. He prodded, pried and questioned. He was not only interested in how, but in why as well. He was intrigued with the logic of what I taught. He enjoyed my analogies to life’s experiences, which helped him understand Kenpo’s principles more precisely. He appreciated the realistic approaches to encounters. There were occasions when he wanted to feel the moves, wanted to be hit. He wanted to be assured that the moves he was being taught really worked. I can vividly remember his boyish grin when he was convinced that the techniques did work.
Elvis’ martial arts training greatly influenced his performances on stage. While his body language thrilled the girls, his use of Kenpo on stage did much to create interest in the martial arts. One of Elvis’ most interesting uses of Kenpo came when he would drop into a karate stance at the end of each of his concerts. He would assume a wide forward bow stance, placing his right arm above his head with his right forearm parallel to the ground, and his left arm positioned in an “L” pattern at chest level. If I was on tour with him, he would assume this pose while facing stage right, and look at me to see whether he should leave the stage in that direction. If I told him “Yes,” he would go that way. If I told him “No,’ he would assume the same pose facing stage left, get confirmation from me, and be off the stage like a shot in that direction. The audience never really knew the meaning of this pose; they just thought he was being dramatic. In reality, he was paying tribute to the martial arts.
Elvis did receive a black belt from me, and he is one of those listed under my family tree of black belts. However, Elvis was far greater as a singer and as a humanitarian.
I’d like to conclude with a story Elvis once told me. While stationed in West Germany, he was scheduled to go out on winter combat maneuvers. Elvis was looking forward to the maneuvers, but he later received orders that he was to be exempted from participating. Instead, he was given special permission to fly out of West Germany on the Pope’s private plane to entertain a private party. But Elvis refused. He said “If my buddies have to go out into the field and freeze their buns, so will I.” That was Elvis – refusing an invitation from the Pope himself for the good of his pals.
Elvis, like Bruce Lee, was one of a kind in his field. To this very day, I ask myself why I was a part of both their lives. Though I’m not sure of the answer, I do know that Elvis and Bruce were a memorable part of my life.
Sunday, November 1, 2015
Opposite and Reverse
(Black Belt Magazine April 1990 V-28 No. 4)
For every move, concept, or principle, there is an opposite or reverse.
If you can fully grasp this idea, you can infinitely expand your vocabulary of motion.
As part of their study for second-degree brown belt, my students are required to apply this idea to every facet of Kenpo karate. Special emphasis is placed on how this comprehensive statement applies to stances, maneuvers, blocks, and strikes. Students at this level are expected to internalize the basic concepts, theories, and principles of technique movement, and the terms and definitions related thereto. Their forms, techniques, and freestyle capabilities should clearly express their successful development of coordination, fluidity, speed, and power. They would then be ready for a formal introduction to man-made weapons.
Logic combined with realistic thinking are the keys. You must thoroughly understand the terms opposite and reverse and learn to apply them appropriately. If there is a right inward block, there must be a left inward (or opposite) block. If there are inward blocks, then there are outward (reverse) blocks. Deductively, if there are inward overhead claw strikes, there must be outward overhead claws. And if there are overhead claw strikes, there must be underhand claws, etc.
The neutral bow stance is a fighting posture that requires the legs to share the body weight equally. This 50-50 weight distribution strategically establishes and ideal point of reference when fighting. Just as Switzerland has been neutral in the last two world wars, so should you thoroughly understand the benefits of neutrality and how, when properly maintained, it can aid you during confrontation. Further in-depth thinking will tell you that the opposite of neutrality is non-neutrality. Therefore, when shifting your weight into a forward bow stance, you have temporarily given up neutrality. You must ask yourself if this is what you wish and, if so, what benefits you can obtain when in that position. And what about rhythmic changes to alter your timing when shifting forward or back? Do you wish to go forward or back (reverse) in terms of direction? What about converting into another plane - another dimension? As you can see, the questions are endless.
Let’s look at weight distribution in more depth. If there can be a 60-40 weight distribution, there also can be a 40-60. If there is a 10-90 weight distribution, there is also a 90-10. If 100 percent of the weight can be placed on the right leg, then the left leg can do likewise. Logic and experience will revel the appropriate answer to each predicament. This in turn will tell you what your weak points are, the areas in which you should devote more practice.
The logical use of opposite and reverse in endless. Movement should be examined and investigated from all angles, directions, dimensions, and predicaments. For example, if you and your opponent can face each other while standing, it’s conceivable you can do the same while one is standing and the other is in a prone position. The same applies if both of you are in the prone positions, both supine, both on your sides, or any combination thereof. Circumstances will often place you and your opponent in these positions.
Other thought-provoking variables can stem from asking yourself questions about other types of predicaments you may find yourself in. Did you begin there? Did he pull you down? Did you push or pull him down? Is the ground your friend or your enemy? Is the ground your opponent’s friend or enemy? If you can fall to the rear, can you not therefore fall to the front or side? Can falling be done intentionally as well as unintentionally? If you can roll forward, shouldn’t you be able to roll in reverse? If you can roll away from an opponent, can you not also roll toward him - accomplish both if two people are present?
Think of every predicament that can logically occur. If you can dive through a doorway as an exit, you can surely dive through a doorway as an entrance. If you can dive under an obstacle, you can dive over the same obstacle. If you can maneuver to avoid and object or person, you can maneuver to utilize that object of person. If a maneuver can be used defensively, you most certainly can use it offensively.
It all boils down to your ability to think. The importance of thinking is illustrated in a story about a gentleman who bought a gadget that was disassembled. As much as the tried to decipher the instruction sheet, he found no success and was therefore frustrated. He eventually called a handyman to take on the task of assembling the gadget. In a matter of minutes, the gadget was assembled, and not once did the handyman refer to the instructions. The gentleman asked the handyman how he was able to assemble the gadget without referring to the instructions. The handyman’s answer was simple: “Well, I can’t read, and when you can’t read, you gotta think.”
If you wish to expand your vocabulary of motion, you must investigate the opposite and reverse of all maneuvers: bobbing, weaving, rolling, twisting, turning, slipping, falling, jumping, switching, shuffling, feinting, etc. Leave no stone unturned, and of utmost importance, think. Free yourself from the bondage of complacency and blind acceptance. Seek for yourself and reveal the undiscovered.
For every move, concept, or principle, there is an opposite or reverse.
If you can fully grasp this idea, you can infinitely expand your vocabulary of motion.
As part of their study for second-degree brown belt, my students are required to apply this idea to every facet of Kenpo karate. Special emphasis is placed on how this comprehensive statement applies to stances, maneuvers, blocks, and strikes. Students at this level are expected to internalize the basic concepts, theories, and principles of technique movement, and the terms and definitions related thereto. Their forms, techniques, and freestyle capabilities should clearly express their successful development of coordination, fluidity, speed, and power. They would then be ready for a formal introduction to man-made weapons.
Logic combined with realistic thinking are the keys. You must thoroughly understand the terms opposite and reverse and learn to apply them appropriately. If there is a right inward block, there must be a left inward (or opposite) block. If there are inward blocks, then there are outward (reverse) blocks. Deductively, if there are inward overhead claw strikes, there must be outward overhead claws. And if there are overhead claw strikes, there must be underhand claws, etc.
The neutral bow stance is a fighting posture that requires the legs to share the body weight equally. This 50-50 weight distribution strategically establishes and ideal point of reference when fighting. Just as Switzerland has been neutral in the last two world wars, so should you thoroughly understand the benefits of neutrality and how, when properly maintained, it can aid you during confrontation. Further in-depth thinking will tell you that the opposite of neutrality is non-neutrality. Therefore, when shifting your weight into a forward bow stance, you have temporarily given up neutrality. You must ask yourself if this is what you wish and, if so, what benefits you can obtain when in that position. And what about rhythmic changes to alter your timing when shifting forward or back? Do you wish to go forward or back (reverse) in terms of direction? What about converting into another plane - another dimension? As you can see, the questions are endless.
Let’s look at weight distribution in more depth. If there can be a 60-40 weight distribution, there also can be a 40-60. If there is a 10-90 weight distribution, there is also a 90-10. If 100 percent of the weight can be placed on the right leg, then the left leg can do likewise. Logic and experience will revel the appropriate answer to each predicament. This in turn will tell you what your weak points are, the areas in which you should devote more practice.
The logical use of opposite and reverse in endless. Movement should be examined and investigated from all angles, directions, dimensions, and predicaments. For example, if you and your opponent can face each other while standing, it’s conceivable you can do the same while one is standing and the other is in a prone position. The same applies if both of you are in the prone positions, both supine, both on your sides, or any combination thereof. Circumstances will often place you and your opponent in these positions.
Other thought-provoking variables can stem from asking yourself questions about other types of predicaments you may find yourself in. Did you begin there? Did he pull you down? Did you push or pull him down? Is the ground your friend or your enemy? Is the ground your opponent’s friend or enemy? If you can fall to the rear, can you not therefore fall to the front or side? Can falling be done intentionally as well as unintentionally? If you can roll forward, shouldn’t you be able to roll in reverse? If you can roll away from an opponent, can you not also roll toward him - accomplish both if two people are present?
Think of every predicament that can logically occur. If you can dive through a doorway as an exit, you can surely dive through a doorway as an entrance. If you can dive under an obstacle, you can dive over the same obstacle. If you can maneuver to avoid and object or person, you can maneuver to utilize that object of person. If a maneuver can be used defensively, you most certainly can use it offensively.
It all boils down to your ability to think. The importance of thinking is illustrated in a story about a gentleman who bought a gadget that was disassembled. As much as the tried to decipher the instruction sheet, he found no success and was therefore frustrated. He eventually called a handyman to take on the task of assembling the gadget. In a matter of minutes, the gadget was assembled, and not once did the handyman refer to the instructions. The gentleman asked the handyman how he was able to assemble the gadget without referring to the instructions. The handyman’s answer was simple: “Well, I can’t read, and when you can’t read, you gotta think.”
If you wish to expand your vocabulary of motion, you must investigate the opposite and reverse of all maneuvers: bobbing, weaving, rolling, twisting, turning, slipping, falling, jumping, switching, shuffling, feinting, etc. Leave no stone unturned, and of utmost importance, think. Free yourself from the bondage of complacency and blind acceptance. Seek for yourself and reveal the undiscovered.
Saturday, October 31, 2015
My Kenpo Karate Roots
(Black Belt Magazine May 1990 V-28 No. 5)
I was 16 years old when one of the members of the church I belonged to introduced me to Kenpo Karate. Frank Chow told a few of us how e had beaten a local bully renowned for his streetfighting prowess. The bully was big and as solid as granite, and not until Frank demonstrated the strategy he used did we believe his David-and-Goliath story.
Once convinced, I was instantly intrigued by this Oriental art and began studying under Frank. I had boxed and been in street altercations quite a few times myself, so I questioned, disagreed, and stood corrected by Frank in my quest for knowledge.
I soon recognized the value Kenpo could have on the streets. Having learned judo and treasuring its merits, I nevertheless saw that Kenpo was superior in handling two of more men at one time. Judo ties you up with one man for too long, exposing your vulnerable areas, whereas Kenpo offered explosive action with minimal target exposure.
I looked forward to every lesson, until one day Frank told me he could no longer be my teacher. Dejected and disheartened, I wondered what I would do now that my Kenpo training had come to and end.
Frank was pleased to see my reaction, and explained that he had merely taken me as far as he could. He was not qualified to go beyond the lessons he had already taught.
But my Kenpo training was far from over. Frank told me to further my Kenpo education with his brother, who was a top instructor in Honolulu. With mixed emotions, I visited William K. S. Chow. I found him conducting a class at the Nuuanu YMCA, and was impressed with what I saw. From the moment I witnessed William Chow move, and appraised the ability of his students, a strong spiritual feeling penetrated the very depths of my soul. Kenpo, I knew, would become my life's work.
Fighting against opponents with different reaches, mannerisms, and methods of executing moves forced me to learn motion thoroughly. The ability to protect and hit from any angle thrilled me to no end, because this knowledge increased my chances of victory on the street. Adriano and Joe Emperado were Chow's first graduating black belts in Kenpo karate, and I looked upon them with envy and respect. It was Adriano who, after his brother's death, formed Kajukenbo an offshoot of Chow's Kenpo system, with advocates throughout the world.
Many students branched away from Chow’s system, yet each had a greatest respect for his ability. Chow was not tall man, but he was fast, precise and powerful. He never wasted motion and reminded me of a mongoose fighting a snake. His defensive moves were never exaggerated. He allowed an opponent’s punch to miss him just slightly, then bam – he’d be in at the man's vital areas.
I wanted to learn as much as I could, so I followed Chow, questioned him, bugged him, and it paid off. He stressed the need for modifications and additions, and introduced me to key movements which set me on the road to becoming a creative innovator. He knew that Kenpo was only in its infant stages, and felt it must be modified to meet the needs of modern America.
I treasured the time I spent with Chow and the revelations I obtained from our conversations and workouts. As I look back, I cannot thank him enough for setting me on the path of logic and realistic thinking.
Chow's classes were loaded with great practitioners, and I think many of them for beating some sense into my head - Fred Lara, Manny de la Cruz, Ike Kaawa, Bobby Lowe (who now represents Mas Oyama in Hawaii), Masashi Oshiro (goju-ryu representative for the late Gogen Yamaguchi), and Paul Yamaguchi, as well as others who have passed on. I learned much from these men and then matured into the martial arts practitioner I am today. The workouts, demonstrations, and parties are all in my past, but they are etched into my mind for all eternity.
After two years at Brigham Young University, I was drafted into the Korean War in 1951 and managed to be stationed in Hawaii for two-and-a-half years of my three-year hitch with the U.S. Coast Guard. I could now continue my studies with Chow on a full-time basis! Far from tiring of Kenpo, the more I studied, the more intrigued I became.
On several occasions, Kenpo saved my life. I then knew firsthand that Kenpo worked, my desire to teach on the mainland grew stronger. I visualized the benefits others would gain and the confidence and character it could instill in our youth.
I talked with William Chow about the possibility of opening Kenpo schools throughout the continental United States after I graduated from Brigham Young. I felt that a university degree was essential to solidify our plans because it would discourage others from looking upon us as mere pugilists. Chow thought the plan was feasible and was willing to take up residence on the mainland.
I eventually established a successful school in Pasadena, California, and was ready to bring Chow to the continental United States to pursue our plan. In September, 1959, I flew to Hawaii for the first time in five years and went to see Chow, reminding him of our expansion plans. Chow told me I had his blessing that I was to go it alone.
My heart dropped to my stomach as Chow explained that he didn't think he could adjust to the new environment. He was basically shy and felt he would be out of place on the mainland. As much as I tried to change his mind, he stuck to his conviction. I honored his wish and commenced an expansion program on my own.
Full-scale success did not come easily; Chow's change of heart was only one of the discouraging moments that were to follow. Yet determination and perseverance made my life fruitful. Kenpo remains as vibrant to me now as it was when I first began my studies, and its possibilities promised to intrigue me for a lifetime.
I was 16 years old when one of the members of the church I belonged to introduced me to Kenpo Karate. Frank Chow told a few of us how e had beaten a local bully renowned for his streetfighting prowess. The bully was big and as solid as granite, and not until Frank demonstrated the strategy he used did we believe his David-and-Goliath story.
Once convinced, I was instantly intrigued by this Oriental art and began studying under Frank. I had boxed and been in street altercations quite a few times myself, so I questioned, disagreed, and stood corrected by Frank in my quest for knowledge.
I soon recognized the value Kenpo could have on the streets. Having learned judo and treasuring its merits, I nevertheless saw that Kenpo was superior in handling two of more men at one time. Judo ties you up with one man for too long, exposing your vulnerable areas, whereas Kenpo offered explosive action with minimal target exposure.
I looked forward to every lesson, until one day Frank told me he could no longer be my teacher. Dejected and disheartened, I wondered what I would do now that my Kenpo training had come to and end.
Frank was pleased to see my reaction, and explained that he had merely taken me as far as he could. He was not qualified to go beyond the lessons he had already taught.
But my Kenpo training was far from over. Frank told me to further my Kenpo education with his brother, who was a top instructor in Honolulu. With mixed emotions, I visited William K. S. Chow. I found him conducting a class at the Nuuanu YMCA, and was impressed with what I saw. From the moment I witnessed William Chow move, and appraised the ability of his students, a strong spiritual feeling penetrated the very depths of my soul. Kenpo, I knew, would become my life's work.
Fighting against opponents with different reaches, mannerisms, and methods of executing moves forced me to learn motion thoroughly. The ability to protect and hit from any angle thrilled me to no end, because this knowledge increased my chances of victory on the street. Adriano and Joe Emperado were Chow's first graduating black belts in Kenpo karate, and I looked upon them with envy and respect. It was Adriano who, after his brother's death, formed Kajukenbo an offshoot of Chow's Kenpo system, with advocates throughout the world.
Many students branched away from Chow’s system, yet each had a greatest respect for his ability. Chow was not tall man, but he was fast, precise and powerful. He never wasted motion and reminded me of a mongoose fighting a snake. His defensive moves were never exaggerated. He allowed an opponent’s punch to miss him just slightly, then bam – he’d be in at the man's vital areas.
I wanted to learn as much as I could, so I followed Chow, questioned him, bugged him, and it paid off. He stressed the need for modifications and additions, and introduced me to key movements which set me on the road to becoming a creative innovator. He knew that Kenpo was only in its infant stages, and felt it must be modified to meet the needs of modern America.
I treasured the time I spent with Chow and the revelations I obtained from our conversations and workouts. As I look back, I cannot thank him enough for setting me on the path of logic and realistic thinking.
Chow's classes were loaded with great practitioners, and I think many of them for beating some sense into my head - Fred Lara, Manny de la Cruz, Ike Kaawa, Bobby Lowe (who now represents Mas Oyama in Hawaii), Masashi Oshiro (goju-ryu representative for the late Gogen Yamaguchi), and Paul Yamaguchi, as well as others who have passed on. I learned much from these men and then matured into the martial arts practitioner I am today. The workouts, demonstrations, and parties are all in my past, but they are etched into my mind for all eternity.
After two years at Brigham Young University, I was drafted into the Korean War in 1951 and managed to be stationed in Hawaii for two-and-a-half years of my three-year hitch with the U.S. Coast Guard. I could now continue my studies with Chow on a full-time basis! Far from tiring of Kenpo, the more I studied, the more intrigued I became.
On several occasions, Kenpo saved my life. I then knew firsthand that Kenpo worked, my desire to teach on the mainland grew stronger. I visualized the benefits others would gain and the confidence and character it could instill in our youth.
I talked with William Chow about the possibility of opening Kenpo schools throughout the continental United States after I graduated from Brigham Young. I felt that a university degree was essential to solidify our plans because it would discourage others from looking upon us as mere pugilists. Chow thought the plan was feasible and was willing to take up residence on the mainland.
I eventually established a successful school in Pasadena, California, and was ready to bring Chow to the continental United States to pursue our plan. In September, 1959, I flew to Hawaii for the first time in five years and went to see Chow, reminding him of our expansion plans. Chow told me I had his blessing that I was to go it alone.
My heart dropped to my stomach as Chow explained that he didn't think he could adjust to the new environment. He was basically shy and felt he would be out of place on the mainland. As much as I tried to change his mind, he stuck to his conviction. I honored his wish and commenced an expansion program on my own.
Full-scale success did not come easily; Chow's change of heart was only one of the discouraging moments that were to follow. Yet determination and perseverance made my life fruitful. Kenpo remains as vibrant to me now as it was when I first began my studies, and its possibilities promised to intrigue me for a lifetime.
Friday, October 30, 2015
Blake Edwards and the Martial Arts
(Black Belt Magazine June 1990 V-28 No. 6)
If anyone deserves credit for introducing me to the movie industry, it would have to be Terry Robinson. He was a trainer and friend to Mario Lanza (the tenor/actor), and he had prepared numerous celebrities to look as if they knew what they were doing on the screen.
I met Terry at the Hollywood American Health Studio in 1956 through another good friend, Roy Woodward. Terri was a combat instructor in World War II and was impressed by my demonstration of Kenpo karate. He said that what he knew about martial arts was like kindergarten level, and he invited me to teach Kenpo at the Beverly Wilshire Health Club in California, of which he was in charge. I accepted his offer - a historical part of my life that I've never regretted.
Terry was a great promoter. He arranged for Kenpo demonstrations at the club before many producers, directors and actors, enabling me to meet and become friends with a number of movie industry VIPs, some of whom later hired me for their productions. Frank Lovejoy, Fabian, Robert Wagner, and many others became students of mine as a result of this demonstration. It wasn't long before I developed lifelong friendships in the industry.
One such friend is Blake Edwards, world-famous producer and director. As a student of mine, Blake saw the potential of the martial arts for the screen. Used first in his film Experiment in Terror, starring Glenn Ford. Then in his Pink Panther series, he created the character of Cato, the faithful valet who keeps Inspector Clouseau on his toes with unexpected Kenpo attacks. I myself played the role of "Mr. Chong from Hong Kong" in two episodes of the series. I would venture to say that Blake through his films, was an important influence in promoting the martial arts around the world.
Blake was interesting to work with. On days I was not scheduled to shoot, I would visit him on location or on the set. At first, he would ask me why I was there since I wasn't scheduled to shoot that day. I answered that I was there to pick his brain, to become more knowledgeable about his trade. He was happy to oblige and taught me a lot about camera angles, lenses, lighting, and various effects. When I made suggestions, he was very receptive.
One suggestion I made was to intermittently employ slow motion with regular speed to get greater audience reaction. I felt the slow motion gave the audience time to observe and relate to a particular move. Switching back to regular speed would then change the audience’s pulse. He followed my suggestion in the fight scene for Revenge of the Pink Panther, changing into slow motion when I flipped my opponent into the air. The opponent continued to sail in slow motion, but when he hit the coffee table, it was back to regular speed, and the audience response was favorable.
During the initial screening of this film, Blake asked me if I notice anything different about the scene. I could sense something different, but could not say exactly what it was. Blake then pointed out that he had removed all of my grunts, groans and kiai (yells), leaving only the sound of my strikes. This technique magnified the effects of the strikes, and I again learned from this cinematic master.
Blake is a genius in his field. For a scene in Curse of the Pink Panther, where I break a huge boulder with a knife hand strike, he wrote additional dialogue for me on the spot that went something like "Visualize strength like a gathering cloud which, when transferred to the rock, will act as a delayed chain reaction on an atomic bomb." I then struck the boulder and nothing happened. But as I walked out of the room, not only did the boulder disintegrate, the entire building collapsed!
The next shot showed me exiting from the building as it collapsed. Concerned about my safety, Blake warned me to start at the foot of the stairs, but I insisted that I start at the top to give him the extra footage he needed for editing. I convinced him that I would react faster than the man pushing the plunger to detonate the dynamite. And I was right. The most difficult part for me was to walk away without reacting to the shockwave from the blast.
If anyone deserves credit for introducing me to the movie industry, it would have to be Terry Robinson. He was a trainer and friend to Mario Lanza (the tenor/actor), and he had prepared numerous celebrities to look as if they knew what they were doing on the screen.
I met Terry at the Hollywood American Health Studio in 1956 through another good friend, Roy Woodward. Terri was a combat instructor in World War II and was impressed by my demonstration of Kenpo karate. He said that what he knew about martial arts was like kindergarten level, and he invited me to teach Kenpo at the Beverly Wilshire Health Club in California, of which he was in charge. I accepted his offer - a historical part of my life that I've never regretted.
Terry was a great promoter. He arranged for Kenpo demonstrations at the club before many producers, directors and actors, enabling me to meet and become friends with a number of movie industry VIPs, some of whom later hired me for their productions. Frank Lovejoy, Fabian, Robert Wagner, and many others became students of mine as a result of this demonstration. It wasn't long before I developed lifelong friendships in the industry.
One such friend is Blake Edwards, world-famous producer and director. As a student of mine, Blake saw the potential of the martial arts for the screen. Used first in his film Experiment in Terror, starring Glenn Ford. Then in his Pink Panther series, he created the character of Cato, the faithful valet who keeps Inspector Clouseau on his toes with unexpected Kenpo attacks. I myself played the role of "Mr. Chong from Hong Kong" in two episodes of the series. I would venture to say that Blake through his films, was an important influence in promoting the martial arts around the world.
Blake was interesting to work with. On days I was not scheduled to shoot, I would visit him on location or on the set. At first, he would ask me why I was there since I wasn't scheduled to shoot that day. I answered that I was there to pick his brain, to become more knowledgeable about his trade. He was happy to oblige and taught me a lot about camera angles, lenses, lighting, and various effects. When I made suggestions, he was very receptive.
One suggestion I made was to intermittently employ slow motion with regular speed to get greater audience reaction. I felt the slow motion gave the audience time to observe and relate to a particular move. Switching back to regular speed would then change the audience’s pulse. He followed my suggestion in the fight scene for Revenge of the Pink Panther, changing into slow motion when I flipped my opponent into the air. The opponent continued to sail in slow motion, but when he hit the coffee table, it was back to regular speed, and the audience response was favorable.
During the initial screening of this film, Blake asked me if I notice anything different about the scene. I could sense something different, but could not say exactly what it was. Blake then pointed out that he had removed all of my grunts, groans and kiai (yells), leaving only the sound of my strikes. This technique magnified the effects of the strikes, and I again learned from this cinematic master.
Blake is a genius in his field. For a scene in Curse of the Pink Panther, where I break a huge boulder with a knife hand strike, he wrote additional dialogue for me on the spot that went something like "Visualize strength like a gathering cloud which, when transferred to the rock, will act as a delayed chain reaction on an atomic bomb." I then struck the boulder and nothing happened. But as I walked out of the room, not only did the boulder disintegrate, the entire building collapsed!
The next shot showed me exiting from the building as it collapsed. Concerned about my safety, Blake warned me to start at the foot of the stairs, but I insisted that I start at the top to give him the extra footage he needed for editing. I convinced him that I would react faster than the man pushing the plunger to detonate the dynamite. And I was right. The most difficult part for me was to walk away without reacting to the shockwave from the blast.
Thursday, October 29, 2015
A Prediction for the 1990's
(Black Belt Magazine July 1990 V-28 No.7)
If you run a school or are otherwise involved in the business side of the martial arts, you better gear up, because I predict the martial arts will hit an all-time high in the 1990s.
What has led me to this conclusion? An onslaught of martial arts related motion pictures scheduled for the next five years. And not just run-of-the-mill pictures, but movies with believable plots, written by professionals working for major film companies. The film industry is finally realizing the potential of martial arts movies. Consequently, those of you who make a living from martial arts should upgrade your business practices.
There are two essential parts of our business: the art, which is our product, and the manner in which we package the art with regard to sales and marketing. In the long run, only those who have a solid and valid product, along with a substantial market plan, will weather the challenges which lie ahead.
Steven Seagal's highly successful Hard to Kill is a good example of this trend toward quality martial arts films. Seagal's display of aikido, along with his departure from the spinning and flying kicks typical of martial arts films, has given audiences a new and varied perspective on the martial arts.
I am personally involved in a major Paramount production that will address the martial arts. I will be involved with choreographing the fight scenes, and it is my desire to introduce new dimensions of action which the audience can relate to, be part of, and learn from. Exciting martial arts films should increase interest in the arts and add students to our schools.
Of course, this can be a blessing as well as a curse. Many unqualified schools will again come out of the woodwork and attempt to cash in on the boom. Students who enroll at such schools will gain a false confidence in their skills. When they discover what they have learned is useless on the street, it may ruin their interest in the arts or may even cost them their lives.
When seeking organizations that might help structure our business, be sure to first investigate their credibility. Consult current or former clients to learn the pros and cons of doing business with the organization. Study the firm's past and present policies, and determine whether its practices match your desires.
As I prepare to go back into franchising martial arts schools, I too am gearing up for what’s to come. I have found computers to be a significant tool in solving business problems. It has been said that those who do not turn to the computer in the next five years will become statistics in the world of business. The level of sophistication in martial arts business is indeed rising. Take heed and gear up.
I am sure many of you have questions pertaining to business practices, teaching methods, and/or motivational concepts that can prolong student interest. If so, please voice your questions so I may help you. Whether you are a commercial martial arts school, club, or group of friends just working out together, I may be able to present a solution to any martial arts related problems you might have. Please write to me and, if possible, I will give you an answer. Keep in touch.
If you run a school or are otherwise involved in the business side of the martial arts, you better gear up, because I predict the martial arts will hit an all-time high in the 1990s.
What has led me to this conclusion? An onslaught of martial arts related motion pictures scheduled for the next five years. And not just run-of-the-mill pictures, but movies with believable plots, written by professionals working for major film companies. The film industry is finally realizing the potential of martial arts movies. Consequently, those of you who make a living from martial arts should upgrade your business practices.
There are two essential parts of our business: the art, which is our product, and the manner in which we package the art with regard to sales and marketing. In the long run, only those who have a solid and valid product, along with a substantial market plan, will weather the challenges which lie ahead.
Steven Seagal's highly successful Hard to Kill is a good example of this trend toward quality martial arts films. Seagal's display of aikido, along with his departure from the spinning and flying kicks typical of martial arts films, has given audiences a new and varied perspective on the martial arts.
I am personally involved in a major Paramount production that will address the martial arts. I will be involved with choreographing the fight scenes, and it is my desire to introduce new dimensions of action which the audience can relate to, be part of, and learn from. Exciting martial arts films should increase interest in the arts and add students to our schools.
Of course, this can be a blessing as well as a curse. Many unqualified schools will again come out of the woodwork and attempt to cash in on the boom. Students who enroll at such schools will gain a false confidence in their skills. When they discover what they have learned is useless on the street, it may ruin their interest in the arts or may even cost them their lives.
When seeking organizations that might help structure our business, be sure to first investigate their credibility. Consult current or former clients to learn the pros and cons of doing business with the organization. Study the firm's past and present policies, and determine whether its practices match your desires.
As I prepare to go back into franchising martial arts schools, I too am gearing up for what’s to come. I have found computers to be a significant tool in solving business problems. It has been said that those who do not turn to the computer in the next five years will become statistics in the world of business. The level of sophistication in martial arts business is indeed rising. Take heed and gear up.
I am sure many of you have questions pertaining to business practices, teaching methods, and/or motivational concepts that can prolong student interest. If so, please voice your questions so I may help you. Whether you are a commercial martial arts school, club, or group of friends just working out together, I may be able to present a solution to any martial arts related problems you might have. Please write to me and, if possible, I will give you an answer. Keep in touch.
Wednesday, October 28, 2015
My Experiences with James Mitose
(Black Belt Magazine Aug. 1990 V-28 No. 8)
Contrary to some published claims, I was never a student of James Mitose. I observed his Honolulu Kempo class in the mid-1940s, but my experience as a young streetfighter made me doubt the effectiveness of many of his methods. I felt many of them lacked realistic applications. For example, a streetfighter punches comes fast and furious, but Mitose’s students would practice catching punches in midair! This was in sharp contrast to William K.S. Chow’s teachings, which were based on Chow’s extensive street altercations.
The next time I saw Mitose he was in the early 1970s when he visited me over a period of five months at my Pasadena, California, home. Many of our conversations lasted hours on end, touching on an array of topics, including his desire to build a Kempo Temple replete with resident trainees. Mitose revealed many interesting historical facts about Kempo and occasionally demonstrated self-defense techniques and discussed Kempo principles with some of my black belts. Many of Mitose’s moves seem to lack continuity and forethought, and left him dangerously exposed.
Many questions came to me during his visit. Why had the Mitose (Kosho) clan deviated so drastically from the circular moves that were a vital part of the original Kempo teachings of Ta Mo (Drauma) and his disciples? I cannot understand why the Kosho clan, which probably trace their roots to Ta Mo, were willing to discard the circular theories as well as other rudiments of motion. While I supported the Mitose clan’s desire to change the art to suit the needs of the Japanese people, I wondered why they chose to employee moves that were predominantly linear. Circular moves, used within the framework of logic, indisputably balanced the blend of motion which leads to practical movement. Replacing Kempo's circular moves with linear motion's would be like replacing and automobiles round tires with square ones.
I'm not saying that all of Mitose’s is teachings were impractical. He did employ methods that, once modified, could work with convincing results. Mitose’s Kempo stressed attacking vital areas by punching, striking, thrusting and poking, and also incorporated throws, locks and takedowns. Although similar to judo's methods of atemi waza (vital body-part strikes), Mitose’s methods and philosophy were different.
I also give Mitose credit for placing importance on the order that fundamentals are taught. He felt that punching, striking and kicking are not only faster than throwing, but were better methods of self-defense. He felt that when a person was attacked, he should preserve his physical resources and use his energy economically. It was his belief that one should not risk exhausting himself by attempting to grab and throw his opponent. Throwing, Mitose warned, exposed one's vital points. Mitose also taught how to unknowingly maneuver your opponent into precarious and vulnerable positions.
Although Mitose did not encourage Kempo as a sport he did feel that, if he were able to be made into a sport, effort should be taken to properly protect the body's vital areas. Kempo, he said, was purely an art of self-defense and, although similar to boxing, possessed differences in fundamentals and philosophy.
It was Mitose’s desire that Kempo would one day become Americanized. And although it was William K.S. Chow who actually started to cultivate the seed of American Kempo, Mitose will always remain part of Kempo history.
Contrary to some published claims, I was never a student of James Mitose. I observed his Honolulu Kempo class in the mid-1940s, but my experience as a young streetfighter made me doubt the effectiveness of many of his methods. I felt many of them lacked realistic applications. For example, a streetfighter punches comes fast and furious, but Mitose’s students would practice catching punches in midair! This was in sharp contrast to William K.S. Chow’s teachings, which were based on Chow’s extensive street altercations.
The next time I saw Mitose he was in the early 1970s when he visited me over a period of five months at my Pasadena, California, home. Many of our conversations lasted hours on end, touching on an array of topics, including his desire to build a Kempo Temple replete with resident trainees. Mitose revealed many interesting historical facts about Kempo and occasionally demonstrated self-defense techniques and discussed Kempo principles with some of my black belts. Many of Mitose’s moves seem to lack continuity and forethought, and left him dangerously exposed.
Many questions came to me during his visit. Why had the Mitose (Kosho) clan deviated so drastically from the circular moves that were a vital part of the original Kempo teachings of Ta Mo (Drauma) and his disciples? I cannot understand why the Kosho clan, which probably trace their roots to Ta Mo, were willing to discard the circular theories as well as other rudiments of motion. While I supported the Mitose clan’s desire to change the art to suit the needs of the Japanese people, I wondered why they chose to employee moves that were predominantly linear. Circular moves, used within the framework of logic, indisputably balanced the blend of motion which leads to practical movement. Replacing Kempo's circular moves with linear motion's would be like replacing and automobiles round tires with square ones.
I'm not saying that all of Mitose’s is teachings were impractical. He did employ methods that, once modified, could work with convincing results. Mitose’s Kempo stressed attacking vital areas by punching, striking, thrusting and poking, and also incorporated throws, locks and takedowns. Although similar to judo's methods of atemi waza (vital body-part strikes), Mitose’s methods and philosophy were different.
I also give Mitose credit for placing importance on the order that fundamentals are taught. He felt that punching, striking and kicking are not only faster than throwing, but were better methods of self-defense. He felt that when a person was attacked, he should preserve his physical resources and use his energy economically. It was his belief that one should not risk exhausting himself by attempting to grab and throw his opponent. Throwing, Mitose warned, exposed one's vital points. Mitose also taught how to unknowingly maneuver your opponent into precarious and vulnerable positions.
Although Mitose did not encourage Kempo as a sport he did feel that, if he were able to be made into a sport, effort should be taken to properly protect the body's vital areas. Kempo, he said, was purely an art of self-defense and, although similar to boxing, possessed differences in fundamentals and philosophy.
It was Mitose’s desire that Kempo would one day become Americanized. And although it was William K.S. Chow who actually started to cultivate the seed of American Kempo, Mitose will always remain part of Kempo history.
Tuesday, October 27, 2015
Defeating Multiple Attackers
(Black Belt Magazine Sept. 1990 V-28 No. 9)
Learning to face multiple attackers is equivalent to learning the words that make up our spoken language. When we first learned to speak, we used primitive sentences, then graduated to more complex ones, and in the case of a college professor, to sentences that go beyond the comprehension of the average layman.
Similarly, as your skills against one opponent to improve, you extend your study to predicaments involving two attackers. Begin with transitional maneuvers that favorably link you with them. Learn how to make these maneuvers flow with continuity. Experiment to discover how they convert into convenient angles of attack, defense, or escape.
When facing two opponents, examine how you can reposition yourself to limit your exposure while allowing access to targets on your attackers. Once "contact manipulation" occurs, where your depth and range come to a standstill, began "control manipulation," in which you steer or maneuver your opponents into positions of immobility. As you guide them into one another, you can gain access to targets and can prevent them from further retaliation. Jam them into each other, disrupting their attacks with effective blockades. Such strategy allows you to work effectively on one opponent at a time while you are protected from the other.
Next, look at your attackers as part of your environment, as objects that you can use like stick, rock, or table. Aside from making them obstruct each other, make them hurt each other. Let them destroy their base, obstruct their vision, cancel their natural weapons. Tie them into knots. Learn to guide them into a wall, a stanchion, a table, etc. if you can drive your opponents into various segments of your environment, can turn these segments into weapons.
Next, consider the principles of the "three points of view": yours, your opponents’, and that of a bystander. As you watch your confrontation from these three points of view, you can learn that the third point of view, that of the bystander, is all inclusive. It trains you to fight three-dimensionally.
You should learn to apply the principles expressed in the "gaseous state of motion." This concept is derived from the three states of matter: solid, liquid, and gas. Water, when it is solid, seeks its shape. As a liquid, it seeks its level. Converted into steam (its gaseous state), it seeks its volume. Consequently, the gaseous state of motion teaches you to strike out in several directions at once. Like steam seeks its volume, you can strike two opponents at the same time. However, to succeed with simultaneous strikes, you must gauge your distance properly.
Finally, your study should include the "21 basic principles of technique movement." This will make you aware of how posture can benefit you and how altering your opponents’ posture protects you from their aggression. Consider not only strikes, but also grabs, holds, locks and takedowns. For example, if two opponents grab your shoulders from either side, step away from one, thus upsetting his balance and move toward the other to strike.
After familiarizing yourself with all the variables involving two opponents, apply the same logic to three opponents, then graduate to four or more attackers. You will find that the same principles are applicable to all groups. Study the various formations of attack your opponents can use, and create solutions for each problem. Consider your opponents’ directions and distance from you. Determine which one is spearheading the group. How is he attacking - punching, kicking, shooting? Do you move left or right? Are you prepared to confront the opponent on your left or right? Formulate a plan and act, applying the preceding principles.
The ultimate in proficiency is a result of simplicity and repetition. Internalize the lessons learned when facing one opponent, and you will gradually become proficient against multiple attackers.
Learning to face multiple attackers is equivalent to learning the words that make up our spoken language. When we first learned to speak, we used primitive sentences, then graduated to more complex ones, and in the case of a college professor, to sentences that go beyond the comprehension of the average layman.
Similarly, as your skills against one opponent to improve, you extend your study to predicaments involving two attackers. Begin with transitional maneuvers that favorably link you with them. Learn how to make these maneuvers flow with continuity. Experiment to discover how they convert into convenient angles of attack, defense, or escape.
When facing two opponents, examine how you can reposition yourself to limit your exposure while allowing access to targets on your attackers. Once "contact manipulation" occurs, where your depth and range come to a standstill, began "control manipulation," in which you steer or maneuver your opponents into positions of immobility. As you guide them into one another, you can gain access to targets and can prevent them from further retaliation. Jam them into each other, disrupting their attacks with effective blockades. Such strategy allows you to work effectively on one opponent at a time while you are protected from the other.
Next, look at your attackers as part of your environment, as objects that you can use like stick, rock, or table. Aside from making them obstruct each other, make them hurt each other. Let them destroy their base, obstruct their vision, cancel their natural weapons. Tie them into knots. Learn to guide them into a wall, a stanchion, a table, etc. if you can drive your opponents into various segments of your environment, can turn these segments into weapons.
Next, consider the principles of the "three points of view": yours, your opponents’, and that of a bystander. As you watch your confrontation from these three points of view, you can learn that the third point of view, that of the bystander, is all inclusive. It trains you to fight three-dimensionally.
You should learn to apply the principles expressed in the "gaseous state of motion." This concept is derived from the three states of matter: solid, liquid, and gas. Water, when it is solid, seeks its shape. As a liquid, it seeks its level. Converted into steam (its gaseous state), it seeks its volume. Consequently, the gaseous state of motion teaches you to strike out in several directions at once. Like steam seeks its volume, you can strike two opponents at the same time. However, to succeed with simultaneous strikes, you must gauge your distance properly.
Finally, your study should include the "21 basic principles of technique movement." This will make you aware of how posture can benefit you and how altering your opponents’ posture protects you from their aggression. Consider not only strikes, but also grabs, holds, locks and takedowns. For example, if two opponents grab your shoulders from either side, step away from one, thus upsetting his balance and move toward the other to strike.
After familiarizing yourself with all the variables involving two opponents, apply the same logic to three opponents, then graduate to four or more attackers. You will find that the same principles are applicable to all groups. Study the various formations of attack your opponents can use, and create solutions for each problem. Consider your opponents’ directions and distance from you. Determine which one is spearheading the group. How is he attacking - punching, kicking, shooting? Do you move left or right? Are you prepared to confront the opponent on your left or right? Formulate a plan and act, applying the preceding principles.
The ultimate in proficiency is a result of simplicity and repetition. Internalize the lessons learned when facing one opponent, and you will gradually become proficient against multiple attackers.
Monday, October 26, 2015
Gary Cooper and the Karate Caper
(Black Belt Magazine Oct. 1990 V-28 No. 10)
Joe Hyams is a good friend to help you succeed in Hollywood. It was he who arranged for me to put on a Kenpo demonstration for Gary Cooper in 1961. Cooper was interested in having his daughter Maria take karate lessons, and wanted to see firsthand what she would be learning. Having been longtime fan of Cooper's work, I looked forward to meeting him.
Cooper's Beverly Hills mansion was magnificent and overwhelming. It stretched for what seemed to be half a mile. Hyams was already there when my students and I arrived, and he made the introductions to Cooper, his wife Rocky, and his daughter Maria.
As the demonstration got underway, I suddenly realized our roles were now reversed: cooper the actor had become Cooper the spectator, while I was now the performer. It was very gratifying to see Cooper's excitement and facial expressions. The demo lasted about 45 minutes, after which I answered questions about the martial arts. Cooper's questions were straight into the point. He wanted to know, for example, exactly what Maria would be learning, how Kenpo would benefit her and, most importantly, wanted to be assured that she would not be injured while training.
A Spanish bullfighter who happened to be visiting Cooper was also in attendance and was fascinated by the speed and footwork necessary to get out of the way of an attack. I detailed the various foot maneuvers Kenpo employs when defending or attacking. I can understand his interest sense, in his work, his life depended on his ability to evade the bulls attacks.
I asked to take a shower after the workout, and Cooper said "Yes, by all means" and escorted me to his bathroom with a slight smirk on his face. I sense something was up, and found out what it was only after I had turned on the water and leapt shrieking from the shower! Cooper had just installed five showerheads aimed at different parts of the bathers body - bottom, sides, and top - and I could hear his laughter behind the bathroom door at my reaction to being hit unexpectedly. This actor who seemed so poker-faced on the screen actually had a sense of humor. I found this to be even more evident later on.
Our lunch included some regal-looking sandwiches prepared in a manner I had never seen before, and I had no clue as to the proper way to eat them. The food just sat there as we conversed, and although I had worked up an appetite, I was hoping that Hyams or someone else would start in on the sandwiches so I could find out how to perceive myself. Finally Rocky picked up a fork and knife and transferred one of the sandwiches to her plate. I watched discreetly as she cut and ate the sandwich as if it were a stake, then I nonchalantly did the same. Later I asked Hyams if he knew how to tackle the sandwiches, and he said "Hell, no. I was waiting for someone to make the first move."
Cooper was a primary conversationalist during lunch. Having pictured him to be a man of few words because of his on-screen manner, I was astonished to see and hear him talk as much as he did. He was a captivating speaker, blending humor and wit as he told us about his recent trip to Russia.
Cooper died of cancer two and a half months after our meeting, and I never had the privilege of teaching his daughter. But the experiences I had that day will always live in my memory.
Joe Hyams is a good friend to help you succeed in Hollywood. It was he who arranged for me to put on a Kenpo demonstration for Gary Cooper in 1961. Cooper was interested in having his daughter Maria take karate lessons, and wanted to see firsthand what she would be learning. Having been longtime fan of Cooper's work, I looked forward to meeting him.
Cooper's Beverly Hills mansion was magnificent and overwhelming. It stretched for what seemed to be half a mile. Hyams was already there when my students and I arrived, and he made the introductions to Cooper, his wife Rocky, and his daughter Maria.
As the demonstration got underway, I suddenly realized our roles were now reversed: cooper the actor had become Cooper the spectator, while I was now the performer. It was very gratifying to see Cooper's excitement and facial expressions. The demo lasted about 45 minutes, after which I answered questions about the martial arts. Cooper's questions were straight into the point. He wanted to know, for example, exactly what Maria would be learning, how Kenpo would benefit her and, most importantly, wanted to be assured that she would not be injured while training.
A Spanish bullfighter who happened to be visiting Cooper was also in attendance and was fascinated by the speed and footwork necessary to get out of the way of an attack. I detailed the various foot maneuvers Kenpo employs when defending or attacking. I can understand his interest sense, in his work, his life depended on his ability to evade the bulls attacks.
I asked to take a shower after the workout, and Cooper said "Yes, by all means" and escorted me to his bathroom with a slight smirk on his face. I sense something was up, and found out what it was only after I had turned on the water and leapt shrieking from the shower! Cooper had just installed five showerheads aimed at different parts of the bathers body - bottom, sides, and top - and I could hear his laughter behind the bathroom door at my reaction to being hit unexpectedly. This actor who seemed so poker-faced on the screen actually had a sense of humor. I found this to be even more evident later on.
Our lunch included some regal-looking sandwiches prepared in a manner I had never seen before, and I had no clue as to the proper way to eat them. The food just sat there as we conversed, and although I had worked up an appetite, I was hoping that Hyams or someone else would start in on the sandwiches so I could find out how to perceive myself. Finally Rocky picked up a fork and knife and transferred one of the sandwiches to her plate. I watched discreetly as she cut and ate the sandwich as if it were a stake, then I nonchalantly did the same. Later I asked Hyams if he knew how to tackle the sandwiches, and he said "Hell, no. I was waiting for someone to make the first move."
Cooper was a primary conversationalist during lunch. Having pictured him to be a man of few words because of his on-screen manner, I was astonished to see and hear him talk as much as he did. He was a captivating speaker, blending humor and wit as he told us about his recent trip to Russia.
Cooper died of cancer two and a half months after our meeting, and I never had the privilege of teaching his daughter. But the experiences I had that day will always live in my memory.
Subscribe to:
Posts (Atom)