ABOUT

A short history of Kempo

The art of Kempo, also written as Kenpo is unique as far as its history goes in two respects; it is considered by many the first martial art, as well as having its founding roots stretch back to 520 BC The person who was a catalyst of the way of Kempo was a prince and warrior of southern India called Bodhidharma. According to the records of the Lo-Yang temple, Bodhidharma was a Buddhist monk under the tutelage of Prajnatara and it is presumed that upon his death bed that Prajnatara requested Bodhidharma to travel to China where he felt the principles of Buddhism where in decline, and that the knowledge of dhyana (Zen koans) should be known.

It is estimated that in 520 BC during the Southern dynasties that Bodhidharma entered China and traveled northward to the kingdom of Wei where the fabled meeting with emperor Wu of the Liang dynasty began. This meeting is recorded do to the intense conversation and discussion of Buddhism and dhyana which took place. The meeting was to no avail, his words to the worldly emperor meant nothing, and thus, sullened by his attempts, Bodhidharma left the palace of the emperor and travelled to the Honan province where we entered the Shaolin temple and began a martial history.

Bodhidharmas depression grew once he reached the famed Shaolin temple for Prajnatra’s telling was true. The monks where in a raged condition physically and mentally diminished do to the excess amount of time the monks spent in meditation and little else. Many of the monks would often fall asleep in meditation while others needed assistance in the basic necessities of life – so feeble was there condition.

For an unknown period of time Bodhidharma meditated in a cave at the outskirts of the temple seeking for a way to renew the feat of Buddha’s light, as well as letting the monks regain control over there lives. Upon his return Bodhidharma instructed the monks into the courtyard, from the strong to the feeble and began to explain and work with them in the art of Shih Pa Lo Han Sho, or the 18 hands of Lo Han. These techniques which are the foundation for almost all martial arts today where never originally intended to be utilized as methods of fighting but where a manner in which the monks could attain enlightenment while preserving there bodies health. During the Sui period, approximately forty years or so after the death of Bodhidharma it is told that brigands assaulted the Shaolin monetary; one of many attacks that would occur until the early twentieth century. During this first invasion, the monks attempts at defending there temple where futile, there skills where not attuned to fighting techniques and it looked as if the temple would fall. A monk of the temple, with reference only as the “begging monk”, during the last siege of the temple by the brigands attacked several of the outlaws with an array of aggressive hand and foot techniques, killing some and driving the remaining attackers away. The other monks where so inspired by the display of this single priest that they requested tutelage in this martial style as a means of protection. In later scripts this fighting art was recorded as Chuan Fa or Fist Method.

Over several decades the fighting arts of the Shaolin temple grew and where said to prosper over 400 arts in total over the next several centuries. Several decades after the fight of the begging monk, a master of Chuan Fa called Ch’ueh Taun Shang-jen was said to have rediscovered the original Shih Pa Lo Han Sho which had been lost for many years. Ch’ueh over a period of time integrated his art of Chuan Fa with that of Lo Han increasing the total number of techniques from the original eighteen to total of seventy-two. For several years after this period Ch’ueh traveled the country side of China promoting his art in several gruelling fighting matches until he came upon a man named Li in the province of Shensi. Li, a master of Chuan Fa as well as other martial ways (including rumors of Chin Na) traveled and trained with Ch’ueh for some time developing the curriculum of Chuan Fa to form a total of one-hundred and seventy techniques. Furthermore, they categorized these techniques into five distinctive groups distinguished by various animals who instinctive reactions best reflected the movements of this new Chuan Fa. Upon there return to the Shaolin temple of which both Li and Ch’ueh belonged they presented to the other monks wu xing quan, the five animal form and brought to the Shaolin temple a new stage in martial arts evolution.

Over the next several centuries the history of Chuan Fa and its advent to Kempo is ragged in its tales and difficult to gain accurate descriptions. What is known is that the art of Chuan Fa remained and is still practiced in China, but its teaching also found its way to Okinawian Islands and the Ryukyu kingdoms as well as Japan. In both places, the art was referred to as Kempo or Law of the fist. Between the Sui and Ming periods (an 800 year gap) it is considered that many a wandering monk traveled across Japan and Okinawa bringing with them a working knowledge of the art of Kempo which explains its wide-spread distribution. The art of Chuan Fa which translates into Kempo would have been taught as a supplement to the daily spiritual training the monks endured. Many of the monks would often choose disciples or teach at various Buddhist temples bringing forth the word of Buddha, and the power of Chuan Fa. From there the art of Kempo could easily spread among the commoners and nobles alike.

Another reason for the founding in Kempo can be seen in the numerous trips the Japanese and Okinawian made to China to learn the fabled art of Chuan Fa. Some people would disappear for many years, presumed dead by there families, only to resurface as a master of Kempo and other martial arts. One such man was named Sakugawa. Sakugawa lived in the village of Shuri on the island of Okinawa and traveled to China during the 18th century to learn the martial secrets of the Chuan Fa masters. For many years Sakugawa had not been seen and many believe he had died in his journeys, but after much time he did return, much to the surprise of his kin. Sakugawa has learned the secrets of Chuan Fa and had become a master of some repute himself. Over many years of refinement the art Sakugawa had learned slowly was renamed to Shuri-te and is considered the predecessor to many forms of modern Karate.

Another member of Shuri, Shionja also traveled to ChinaChina and began to demonstrate around Okinawa. Its is believed that Kushaku and Shionja had the greatest influence in Okinawian Kempo styles than any other martial artist. Unfortunately, the evolution of Kempo in Japan is just as abrupt and mysterious although a flurry of attention to the art was brought during the reign of Hideyoshi Toyotomi’s plans of conquering China. It is referred that many a samurai on there return from China whether during or after the war brought with them extensive knowledge of Chuan Fa and throughout the years modified it to include there own arts of Jujutsu and Aikijutsu and it is at this state where the greatest evolution of Kempo takes place since the time of Li and Ch’ueh.

At the beginning of the seventeenth century two families brought knowledge of Kempo from China to Kyushu. This art was modified throughout many years into its current form which is referred to as Kosho ryu Kempo, or Old Pine Tree school and it is from here that most modern forms of Kempo are derived. In 1916 at the age of five, James Mitose was sent to Kyushu from his homeland in Hawai for schooling in his ancestors are of self-defense called Kosho ryu Kempo. For fifteen years he studied this art which was a direct descendent of the original Chuan Fa. After completing his training in Japan, Mitose returned to Hawaii and in 1936 opened the “Official Self-Defense” club in Beretania mission in HonoluluIn 1934, before Mitose’s return to the United States, the term Kempo-Karate was first used. In an issue of Yoen Jiho Sha newspaper an advertising for the visit of Chogun Miyagi, a famous karateka and founder of Goju ryu karate do, to the island of Hawaii. The use of the two terms is under speculation. Some suspect it was simply an advertising scheme while others believe that Chogun Miyagi’s Goju ryu was actually a pure form of Kempo, and that the term karate was simply more well known.

William Chow is perhaps responsible for the largest leap of Kempo to the general public. William K.S. Chow studied Kempo under Mitose for several years and previously had studied his families art of Kung Fu. Chow united, like many Kempo masters before him the arts of Kosho ryu Kempo and his family Kung fu to form a new art which would eventually be referred to as Kara-ho Kempo. In 1949, Chow had attracted a number of students to his own teachings and opened a dojo of his own at a local YMCA. To make a distinct variation from Mitose’s Kempo, Chow referred to his art as Kenpo Karate. Throughout the next few decades Chow made many innovations to the system including the use of circular techniques of his Kung Fu, as well as various kata or forms based on the primary linear and circular techniques of his art.

One of Chows most flourishing students was a Hawaiian native named Edmund Parker. Ed Parker as he was known was the last highly significant figure in the current tale of modern Kempo unleashing it to the world as well as propelling it into his current form. In 1954 Edmund Parker earned his black belt in kara-ho Kempo and two years later became a household name, teaching his art to the likes of Elvis Presley, and Steve Mcqueen. Ed Parker further refined and defined the techniques of Kara-ho Kempo till he perfected his American Kenpo Karate system. Ed Parker is often referred to as the father of American Karate.

From here, Kempo and its other forms take many twists and turns, constantly evolving into new states of being.