Kenpo the Peace of the Open palm balanced by a Well formed fist

Transcription

1 Kenpo the Peace of the Open palm balanced by a Well formed fist JTR 92 White Tiger Kenpo Jujits

2 Copyright 2014 DomoAji Publications All rights are reserved. Printed in the United States of America. No Part of this book may be used or reproduced in any form or by any means, or stored in a database or retrieval system, without prior written permission of the author or publisher except in the case of brief quotations embodied in critical articles and reviews. Making copies of any part of this book for any purpose is a violation of the United States copyright laws. Copyright Leann Rathbone/Domoaji Publishing 2014 All Rights reserved Printed and Bound in USA The White Tiger Kenpo Jujits logo and design are trademarks of Jim & Leann Rathbone and White Tiger Productions. No part of this book may be reproduced or copied in any form without the written permission of White Tiger Kenpo Production Disclaimer Please note that the publisher of this instructional book is NOT RESPONSIBLE in any manner whatsoever for any injury which may occur by reading and/or following the instruction herein. It is essential that before following any of the activities, physical or otherwise, herein described, the reader should first consult his or her physician for advice on whether or not the reader or readers should embark on the physical activity described herein. Since the physical activates described herein may be too sophisticated in nature, it is essential that a physician be consulted Written by Leann Rathbone 4th Dan Edited by Shihan Jim Rathbone To Order Copies of the book you can contact us at Kenpo@tampabay.rr.com

3 History of Kenpo There is much mystery surrounding the true origins of the art we call KENPO. Jim Rathbone the founder of the White Tiger Kenpo Jujits has been in the martial arts (war arts) for over thirty years. During these years, he has read and heard many wonderful Stories about the origins of our art. Even though he is not certain which of these legends is the most accurate; however the following seems to be the most logical from the evidence available today. Centuries ago The Buddhists had many temples, or monasteries. The most famous of these is the Shaolin Temple, in the province of Hunan. Shaolin is pronounced Sil Lum in Cantonese and Shorin in Japanese. The Shaolin Monastery was made famous by the 1970s television series Kung Fu as well as the new series on the Fox Network. The Shaolin priests were Buddhists monks, known for their knowledge of medicine and the healing arts, as much as, or more than their martial arts skills. The priests were considered Kung Fu or one who is learned, similar to our term Doctor. The monks were politically active against the oppressive government of the Manchu Dynasty, which brought about the destruction of the temple by the Manchu army in about All but five monks were killed. One surviving monk, Chih Shan Chan is believed to have to have escaped to the Shorin temple in southern Japan. He taught a system of the martial arts he called, Hung Tai Kuan or Hun Chi Chuan. Practitioners knew later versions of this art as Luk Ah Tsia, from which Hung Gar or Tiger Crane kung Fu Originated. Tiger Crane Kung Fu is still a part of what we teach today almost 700 years later. The Tiger Crane form is still a requirement for 2nd Brown Belt today. Chinese, Japanese and Okinawa systems of martial arts all have had an influence on the system of self-defense I teach in the White Tiger System. James Masayoshi Mitose The more modern and better-known part of our history begins with James Mitose. Mitose was born December 30, 1916 on a coffee plantation in Kona, Hawaii according to legend; a visiting Chinese monk brought Kenpo to his family's monastery in Kumamoto, Japan in the 15th century. Rinzai Zen Buddhism was taught at the monastery along with martial arts, calligraphy, poetry, flower arranging and archery. This form of Shaolin Chuan Fa Kung Fu, brought by their Chinese visitors, was blended with the jujitsu that was common in the area. This blend of Chinese and Japanese arts became known as Kosho-ryu Kempo or family School Fist Principle, as Kosho was family name of the Mitose Clan. In Mitoses Book What is Self Defense, Kenpo Jujits published in 1953, Mitose states he was taken by his grandfather to Japan to study at the family monastery as there was no other formal education system at the time. In 1936 at age 14 he became the 21st grandmaster of Kosho-ryu Kempo, returning to Hawaii; in 1942 he began to teach what he called Kenpo Jujits. This account from Mitoses book is doubted by many who believe that Mitose was actually a student of famed Okinawa karate master Choki Motobu, however the true story died with Mitose in Before World War 2, Mitose began teaching a few students from his garage. After the war, Mitose opened a school he named the Official Self - Defense Club Mitose taught there until he retired in In 1956 he moved to southern California, during the time he taught in Hawaii, he only ranked five individuals to Black Belt, Edward Bobby Lowe, Dr. Arthur Keawe, Paul Yamaguchi, Thomas Tommy Young and William Kwai Sun Chow.

4 William Kwai Sun Chow Mitoses most famous and prolific student was William K.S. Chow, Chinese Hawaiian, born July 3rd His father, Hoon Chow, taught Chow the family s Kung Fu system. A Buddhist monk who trained him in a system based raised Hoon Chow in Shanghai on a southern Shaolin system. William K.S. Chow began martial arts training with his father, at age seven. Later when Chow heard of a new style being taught, he sought out Mitose and began training. During his Kenpo training, Chow recruited students on his own and began a school at the YMCA in Honolulu. He began to blend the circular moves of his Kung Fu training with the linear and grappling moves of Mitose martial art system. Chow s most famous and popular student was native Hawaiian, Edmund Kealoha Parker. Edmund Kealoha Parker Born March 19th 1931, Ed Parker has done more than any other Kenpo Master to popularize and publicize the art of Kenpo. Parker received his Black Belt from William K.S. Chow left for Hawaii in 1951 to attend Birmingham Young University. In 1956 he started teaching Kenpo at the Hollywood Health Club. He instructed many of the Hollywood stars, from Elvis Presley to William Shatner (Star Trek s Captain Kirk). In 1956 he opened his first professional school in Pasadena, California. Parker Americanized Kenpo by bringing many innovations into the art. He started one of the largest and most prestigious tournaments, Ed Parker International Karate Championships at which he introduced Bruce Lee to the public. Ed Parker died while on a trip to Hawaii to visit his mother in Jim and Al Tracy Jim and Al Tracy where two of Ed Parkers first students to be past to Black Belt, in fact they were third and fourth students to receive black belts under Ed Parker in the Pasadena school. They were quite conscientious about their training and kept daily notes. They recorded each technique they learned and a 3 X 5 card and filmed the techniques with an 8mm camera. These provided the material from which the brothers organized Kenpo into today s belt system. When they opened their own Kenpo School in They also created the trigger names of many of the techniques we still teach, Parker saw the value of this and copied what they had done in their school. That is the reason that Parker's school and Trays schools use different names for the same techniques. Jim Rathbone

5 Jim s training began in 1963 under Hanshi (tenth degree Black Belt) Lou Angel (Louis Anthony Angelopolis); Jim would sneak off his paper route in order to take the lessons. Lou had just returned from Japan where he had just received his Third Black Degree Belt under the legendary Great Grand Master of Goju, Gogin Cat Yamaguchi. Lou received his black belt in 1961 In New York under the famous Peter Urban. By 1969 Jim had obtained a brown belt and began teaching for Lou Angel. Jim opened a school in Joplin Missouri, were he was attending college. While attending college at Missouri Southern State in Joplin Missouri actor and Kenpo stylist Jeff Speakman began his training in this school under Lou Angel. A short time later after Jim received his Black Belt he left Goju, still searching, for what he wasn t sure. Jim began training with a college buddy, now lifelong friend, Fred Fairchild, a Shotokan stylist. Shotokan is another Japanese system, which is very similar to Goju. In fact the founder of Japanese Goju, Gogin Yamaguchi, studied with the founder of Shotokan, Gichin Funakoshi. About a year later Jim was accepted to teach in the Tracy s franchise system. Jim thought he had died and gone to karate heaven, Kenpo was what he had been looking for. Kenpo was no nonsense self-defense system that had many street worthy organized techniques. Having trained for a number of years and obtained a Black Belt in Shotokan and Goju, Jim was able to obtain his Kenpo Black Belt in Jim first taught in Tim Golby s school in St. Louis, one of the largest Kenpo schools in the U.S. while in St Louis Jim had a chance to work out with some of the best fighters in the four-state area including Fred Wren, four state area heavyweight champion. Jim also trained at the other Tracy school across town in St. Louis headed by Rodney Hard. Rodney was the son of Christian Missionaries and had grown up in Korea. Rodney trained in Hapkido while in Korea and obtained a black belt before returning to the U.S. Jim got an introduction to joint manipulation techniques and some of the kicks of Hapkido. Jim also spent hours learning the techniques of knife throwing; he also learned how to stick anything with a point including maps and thumb tacks. The next place the Tracy s sent Jim was to David Meredith s (now a municipal judge) school in St. Petersburg, Florida. Jim took over operations while Dave returned too central training, in Orange New Jersey at that time, for business training. While in Florida Jim was fortunate to meet Dave Meredith s instructor, J.T. Will. J.T. was a great fighter and a student of both Ed Parker and Al Tracy. After several months in Florida, Tracy s had Jim take over operations of a company owned school in Vancouver, British Columbia Canada. Vancouver, a city of three million has a Chinese population greater than San Francisco, California. While there he began to train with Wai Doo, now Great Grand Master of White Tiger Kung Fu, then just another martial artist about his own age to trade techniques with. Jim studied both Kung Fu and herbal medicine including the poisons used for Chinese weapons. White Tiger Kung Fu greatly influenced the way Jim viewed the martial arts and the system Mr. Rathbone teaches today. The greatest benefit of being part of the Tracy s system in the 70 s was the money generated from the franchise chain was spent improving the system. Tracy s hired the World Heavyweight Champion (FULL CONTACT) Joe Lewis, to train instructors, in the method of freestyle sparring. Joe s system covered both competition and full contact application. Joe studied privately with Bruce Lee and together they built a system that kept Joe world champion for ten years. Very few of Joe's competitors survived past the second round and at over fifty, a formidable fighter. In 1992 Joe fought a full contact exhibition matches with his good friend the famous Bill Supper Foot Wallace, it was quite a fight much of what we teach in our one on one sparring classes is the system devised by Joe Lewis and Bruce Lee. Centuries of Wu Shu, forms and patterns, passed from generation to generation. We have a system second to none; we believe the most street effective self-defense being taught today anywhere and Mr. Rathbone has seen hundreds of styles and systems. Welcome to White Tiger Kenpo Systems Leann Rathbone 2nd Dan

6 White Tiger Kenpo linage Shaolin Temple China Shorin Temple Hoon Chow James Mitose William Kwai Sun Chow Edmund Keoloha Parker James Wong Woo Doo Wai Lou Angel Jim & Al Tracy Bruce Lee Calvin Metz Jim Rathbone Joe Lewis LeAnn Rathbone

7 10 Principles of White Tiger Kenpo Jujits General Basics 1. Balance & Stability: These two are one and the same without one you don t have the other. Proper balance must be maintained at all times in order to execute proper techniques, without proper balance or stability you will not have the power behind your blocks or strikes and you forfeit mobility. You achieve this by keeping your shoulders over your hips, and keep your feet directly under your body. The same is true of your attacker; you must rob him of his balance and stability. 2. Distance: You need to maintain or create distance until you are ready to defend yourself or make the first move. Be aware of the critical distance line at all time during any altercation no matter how frivolous. 3. Awareness: You must be aware of your surroundings at all times; this will eliminate most surprise attack. Knowledge of your surroundings provides defense alternatives and not just a reaction. 4. Mobility: Is the key to any offensive or defensive maneuver, you must be able to move any direction at any giving time without sacrificing balance or stability for if you do you will give up power as well as mobility 5. Positioning Vs. Blocking: Position is more important than blocking, with proper positioning you will be beyond the point of contact when the strike arrives, the block may not be necessary. 6. Spatial Summation: This is a case of = 5; the brains pain threshold is triggered much higher and faster by multiply strikes to different areas of the body, than a single hard strike to the body. 7. Body Checking & Control: After your first block your secondary should be a check to the body to control your opponent by feeling his movements so you will know if he attempts to counter your action; also you want to keep your opponent off balance by pushing and pulling on them so that you can maintain control at all times. 8. Power Pattern: All techniques must have one of three power patterns in order to be effective 1. Linear power 2. Circular power 3. Drop of body weight 9. Transitional Flow: You must be able to flow from one technique into another technique without stopping or using jerking action. 10. Timing & Speed: Reactive speed & timing are critical to the execution of Kenpo techniques. Speed provides power that must be implemented at the time when your opponent moves to proper positioning. 3 Stages of Learning Mechanical: A beginning student learns each step of a technique, but does not yet understand the flow of the technique or the power patterns involved in each technique, and therefore no real utilization is available. Technical: The student now comprehends the motion of each move and the power patterns that are needed with each technique, but the student is not yet spontaneous, in the execution of the techniques against an attacker.

8 Psychological: At this level the student is now capable of free styling with his techniques when they are confronted, they are also able to recognize patterns, with this knowledge they are able to counter or initiate the attack before the opponent is ready or aware and can initiate without being seen. Basic Power Patterns There are 3 basic Power Patterns that must be used when you are executing a technique, without the proper power behind a strike or kick you will not be able to get the maximum results from your action so therefore it is a waste of motion. You must have one of the three or a combination of the three patterns in a technique. The 1st one we will talk about is linear power; this is used whenever you are attacking in a straight line, whether it is forward or a backward motion. To get the optimum results from your action you will have to use a hard bow or reverse hard bow stance to develop the power that is necessary to make the strike effective. This is accomplished by throwing the body weight forward and into the strike. The 2nd Power Pattern that can used is circular power, this is accomplished by utilizing the torque of the hips or rotation of the hips for the development of the power, this can be done by using soft bow stances or crescent motions whenever you execute a circular strike for example an elbow strike to the ribs or a uppercut elbow to the chin, by using a soft bow or crescent motion it will set your hips up so that you will be able to rotate or torque your hips to receive the power needed. The 3rd and final way you may be able to receive power is body weight or marriage of gravity. Whenever you strike in a downward motion you will need body weight behind your strike to get the optimum results from the strike, this is accomplished by dropping your body weight down and the of gravity working at the same time. One of Ed Parker s analogies was that you don t hit something with the bumper of your truck you hit them with the whole truck, the same thing applies to striking or kicking, and you don t just use the power of the limbs, you use all your body weight behind a strike. Steps to Creating a Safe Technique: Positioning: Your 1st consideration when defending against an attacker is positioning, if you are positioned correctly you will not need the initial block. When positioning yourself remember to stay beyond the critical distance line of any possible attack. Block/Strike: After you have preposition yourself out of the point of contact then counter your attackers strike with a block. Strikes & Punches: Following your defense you should then counter with a strike to one of the vital points of the body to weaken your opponent or render them helpless. Kick: Kicking as a first defense is one of the most dangerous ways to defend oneself. This is because kicks are easy to see and therefore is to block or counter. Use kicks as a finishing technique instead of an initiation whenever possible, whenever you are going to kick keep the kick as low as possible so as to eliminate the possibility of the attacker countering your kick. Lock: Lock or joint manipulation is a good way to control an opponent or disable you re opponent, but this should be done only after you have weakened you opponent so that they are not able to counter or prevent to lock. Throw: Throwing your attacker is an excellent way to end or counter an attacker it is also the most dangerous way of defense, so only use this defense if necessary or at the very end of the fight.

9 The Clock System The Clock system is a tool that we use to help students with direction and angles; you will notice throughout our manuals that we refer to a position on a clock, like place your right foot at 10:30. This method is easier to understand then tell them to take their right foot and step out at a 45-degree angle. Below is a Picture with the most common times used throughout the manual. Also Remember that times are not exact they are just a guide adjust them as need for your own personal six and height. Almost everything done past the 12:00 hour up to 6:00 will be done with the right side of the body, and everything past that will be done with the left side. 12:00 and 6:00 can be done with either side depending on the technique. Remember there are always exceptions. 12:00 10:30 2:30 9:00 3:00 7:30 4:30 6:00

10 Basics The basics are a foundation for any style of martial arts. These basics are the building blocks of are style and must be mastered to fully understand our style and be proficient with it. Kicks Punches & Strikes Blocks Stances Front Snap Straight Punch Inward w/check Square Horse Front Thrust Reverse Punch Vertical Outward Side Horse Back Kick Vertical Punch Extended Outward Fighting Stance Hook Kick Upper Cut Upward Block Cat Stance Turning Back Kick Inverted Punch Downward Twist Stance Side Thrust Backfist Double Palm Block Dancer Side Snap Hammerfist Parry Hard Bow Defensive Side Kick Corkscrew Backfist Windmill Soft Bow Crossing Back Kick Web Hand Brush Block Roundhouse Kick Spearhand Flex Block Forward leg Wheel Swordhand Universal Block Flip Kick Whip Chop Deflection Block Slice Kick Tigers Jaw Caming Block Stomp Kick Tigers Claw Scissor Block Inside Crescent Kick Heel Palm Smoother Block Eagle Beak Strike Crane Block Rising Punch Hooking Block Horizontal Elbow Threading The Needle Downward Elbow Half Fist Ridgehand Upward Elbow

11 Salutation There are 2 basic salutations that you will use in the Kenpo system. They are used to begin and end a class as well as at the beginning and end of a Kata. Basic Salutation Start from neutral stance, and then step out with right foot to 3:00 into square horse stance. Right hand makes a fist left hand covers fist. Slide right foot to left and bow Advanced Salutation Start from a neutral stance, right foot steps to 12:00 with toes point to 2:30, right hand by shoulder making a fist and left hand open palm next to it. Left foot steps out to 12:00 into a cat stance as you present your Kenpo Fist. Left foot steps back to 6:00 followed by the right foot at the same time the hands roll over and into chamber

12 Basic Drills 4 Corner Drill This drill is designed to work hand eye coordination and improve on reaction time. There are several levels to this drill; the 1st level is where one student throws hook punches in a prearranged pattern while the defending student counters with a block punch combination. The 2nd level, the attacking student throws hook punches in no prearranged order while the defending student must learn to read and react. The 3rd and final level is identical to the second level but now you must follow up with a technique after you have done the block and punch. To practice the 1st level of the drill two students will face each other in a square horse stance, just out of punching range; the attacking student will throw the 4 hook punches in a prearranged order, while the defending student will counter with a block punch combination. Before starting the drill you will need to judge the distance of the defending students counter punch, so no one will get hit while practicing the drill, this is accomplished by having the defending student place a vertical punch 1 inch from the attacking students face while both students are in a square horse stance. The drill is started by the attacking student throwing a right hook punch to the side of the head of the defending student, the student that is defending will counter with a left extended outward palm block and a right vertical punch to the face, the attacker will then throw a left hook punch to the side of the head, the defending student will counter with a right extended outward palm block and a left vertical punch to the face, the attacking student will throw a right hook punch to the ribs, countered with a left low palm block and a right vertical punch to the face, the final move will be a left hook punch towards the ribs, then counter with a right low palm block and a left vertical punch to the face. When you become proficient with level 1 go onto level 2 of the drill. Level 2 is basically the same as the 1st level, instead of throwing punches in a prearranged order they will be thrown in any pattern the attacker chooses. This level will help you build up reaction time by teaching you to read and react more quickly. Once you have become proficient with both level 1 & 2 go onto level 3. Adding techniques to the end of a counter while doing the drill will to help develop spontaneity as well as teach you how to set up technique. Try not to spend too much time thinking about a technique, learn to let the body react to what it sees and feels.

13 4 Directional Kick The 4 Direction Kick drill is designed to help teach you the proper way of chambering and rechambering of kicks when you are changing the angle of your attack or defense position as well as improve your balance and coordination. There are several different kicks or combination of kicks that can be utilized with this drill to improve your balance and coordination as well as blocks and punches that can be incorporated into this drill to increase the difficulty of it. For the purpose of the explanation we will use a front snap kick. There are several other kicks that can be substituted for the front snap kick, such as a roundhouse kick, front thrust kick, or a defensive sidekick, you can also use combinations of kicks, for example combining a front snap kick with a roundhouse kick. The drill is started in a left lead with your hands up facing 12:00, your first kick will be thrown towards 12:00 then rechamber the kick and plant it down at 3:00, at this point you should be facing 9:00. The 2nd kick is thrown towards 9:00 and plants down at 12:00, ending up facing 6:00, the 3rd kick is thrown towards 6:00, plants down at 9:00, facing 3:00, the 4th and final kick is towards 3:00 and plants down at 6:00, facing 12:00. To improve your coordination and balance add a block punch combination with a kick of y\our choosing, or add any combination of kicks you like. Start the drill off slow and make sure you are doing it properly and as you become more proficient increases the speed, but make sure you don t lose form in doing so.

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16 Trapping Drill This drill comes from the Jeet Kune Do style of martial arts, it is an excellent way to build what we call Sticky Hands Method, You always maintain contact with your attacker at all times while you are blocking, doing so will enable you to lock up your attacker more easily and have the ability to control your attacker better. This will also improve your ability to read and react when you are in tight with your attacker. There are four levels to this drill the 1st level is blocking and countering a strike, the 2nd level takes it one step farther by adding techniques to the end of your counter. The 3rd level deals with unexpected strikes, the attacker will go from the Trapping Drill to the Hook Punch moving drill with no warning. The fourth and final level is one step up from the last drill by adding on a technique to the counter. All four drills work hand eye coordination as well as improving your reaction time when you are in a close quarter attack situation. This will also help your to feel and react, by this I mean not looking at where your hands are but feeling where they are and being able to go into Techniques by feel alone and not in a prearranged environment.