Although the terms KENPO and KARATE are often used synonymously, it is the Chinese who have been credited with developing these pugilistic forms of self-defense over the centuries. It's popularity did not reach the western world until the late forties, early fifties, and well into the sixties. Acknowledgment has been given to the Japanese for its introduction into the western world. As a result, the Japanese term, KARATE, meaning empty hand, is known worldwide. Karate, which strikes with the various natural weapons (side of the hand, elbow, heel of the foot, etc.), should not be confused with Judo or Jiu-Jitsu, which are roughly speaking Oriental forms of wrestling. Karate is the Japanese term describing their art form which stemmed from Chinese Kenpo (law of the fist), their mother art. Today, the American version of Kenpo developed by Ed Parker is rapidly becoming the more acceptable school of thought in the United States. Ironically, historical examination of the Martial Arts has made a startling discovery: there has never been a pure system of Karate. There may be specific styles that adhere to traditional protocol: styles that are specifically outlined to follow a precise format. Styles, however, are isolated segments that are extracted from a Martial Art system that encompasses a more total picture of what lies within the realm of self-defense. A good system is one that takes into account strikes, strike downs, contact manipulation (throws, locks, twists, dislocations, etc.), ground techniques, multiple attacks, use of weapons as extensions to natural weapons, etc. Consequently, it is difficult to establish an accurate family tree for many of these styles that are now spreading to the West. Because many of these styles were founded by individuals who apparently borrowed, specialized, and contributed ideas of their own, historical accuracy has been difficult to ascertain. Therefore, since the system of American Kenpo, engineered by Ed Parker, is based on logic rather than tradition it can be said that it is neither Japanese nor Chinese, Oriental nor Western. It is what it is. Many worthwhile principles are found in Zen, but contrary to current propaganda, becoming interested in Zen is not the logical result of proficiency in self-defense. The current theme of the "philosophy" or the "way of life" of Karate is too often fancy trimming covering up an inadequate approach to self-defense. Greater still are their claims of being masters. They often boast of their humility in avoiding a fight and well they had better. Kenpo strives to produce students free from brainwashing that can get students killed. Kenpo demands that fighting be considered realistically, a feature frequently lacking in the self-defense arts today. Movements are to be measured against the yardstick of modern street fighting. Some styles are trying to pass off, as self-defense techniques, movements originally intended as exercises. It is one thing to play quick draw with blanks and quite another to use real bullets. Another item often not taken into account is physiological differences. The art must be made to fit the individual, not the individual to fit the art. Karate styles are sometimes criticized for not making contact in their sparring. It is true that pulling one's blows is somewhat like playing flag football but the experience of hitting and being hit is not worth the loss of practice sessions that may result from the increased injuries. Working on a heavy bag is a great substitute. It affords you the opportunity to make actual contact. If this is not enough there is no reason why two colleagues cannot make contact if they agree on the specialized rules. Some styles attempt to solve the problem by outfitting themselves in armor. The drawback here is that the armor can be so cumbersome that it can hamper the execution of effective technique. Other styles prefer only to shadow box. Considerable controversy exists among the fans of the various arts of self-defense as to which is superior in an actual crisis. When faced with several attackers the analysis is not so difficult. There seems to be little chance of consecutively strangling 5 opponents, holding them down until they yell, "uncle", or boxing 5 times 15 rounds. Instead it becomes highly desirable to be able to dispense with an attacker immediately. The prescription: some form of hitting emphasizing speed, power, and accuracy. In Kenpo speed is achieved by relaxing the muscles and conserving motion. The arms and legs move much faster relaxed than when tensed. Just prior to contact (when it will do the most good) the muscles will exert their entire force. When properly trained the body is capable of tremendous force over a short period of time. Motion (time) is conserved in three ways. First, movements are direct, that is unnecessary moves are eliminated. For example: the fist does not draw back to gain greater striking distance -it goes! Second, at the advanced stage the "ands" are eliminated from the response. Instead of blocking "and" hurting or grabbing "and" hurting the defense and offense occur simultaneously. Third, by combining several moves into one basic motion combinations become much faster. For instance the fingers might proceed to the eyes after a chop to the neck or an elbow might sequentially flow immediately after the fist is delivered. An important question often asked is which style offers an advantage to a smaller person. Certainly trading blows is not the answer since even if he develops equivalent power he cannot withstand equal punishment. A suggested strategy in Kenpo is the use of checking. Checking helps to prevent retaliation. Checking is accomplished in many ways such as stepping on an opponent's foot to prevent a kick; preventing the shoulder, elbow, hip, etc from obtaining leverage; becoming skilled in employing offensive moves as a means of preventing retaliation. This method of checking often forces an attacker into an awkward position and/or can effectively minimize his leverage. Flexibility is highly stressed in Kenpo. It permits freedom to strike any portion of the attacker's anatomy from his skull to his toes. At the same time our own weapons must be just as diverse. The natural weapons include the fingertips, side of the hand, knees, elbow, heel of the foot, etc. While some of these natural weapons are limited in terms of frequent use they are effective under special conditions and situations. Kenpo training does attempt to develop your ability to learn all methods of executing your natural weapons. It becomes a matter of logic, for example, as to when and how to hit with what. Something in the way of flexibility can be learned by watching the hands of the director of an orchestra. Observe the many rhythmic changes and gestures that his baton and hands go through when directing the orchestra. The timing, height, width, and depth of his hand gestures alternate accordingly. Synchronization is impeccable as the director and his baton becomes one with his musicians. In comparison a fight is harder to anticipate. It cannot be orchestrated, nor can it be compared to a sheet of music. You are not privileged to blend with the reactions of your opponent as an orchestra can do via practice. It requires spontaneity. It is your ability to respond extemporaneously with the action and reaction that is key. To avoid wasted effort and maintain poise, soft movements should be combined with hard ones. By varying the degree of force, the weapons, and the target, it is possible to vary the of damage. It is not necessary to kill to defend against the grab of some drunk. The greater your knowledge of offense and defense, along with your skill to apply it, the greater your chances are for survival. Fighting can be easy or it can be difficult. All elements pertaining thereto are important. While a good system can offer you effective and practical variables, it all comes down to you. You are the only one who can make it work. To get the levels of spontaneity considerable practice is given to preset sequences. This helps a beginning student to develop coordination before advancing to higher levels of conditioned response. The more students practice the better they are able to express themselves extemporaneously. As their levels of spontaneity increase the more they learn to alter their moves without hesitation. Ed Parker's Kenpo system is not just untried theories since it has proven itself in practice. In the words of Mr. Parker, "An opponent can be struck four or five times within a second so that he will be unable to hold all of the places that hurt." |
| What is Kenpo? |
 |  |  |  |  |  |