American Kenpo

American Kenpo /kmpo/, sometimes written as

Kempo, is a martial art characterized by the use of quick
hand strikes in rapid succession. The multitude of fast
strikes has a dual purpose, perhaps overwhelming an opponent, while attempting to ensure that at least some
strikes eectively hit their target, akin to a striking combination.[2][3][4][5]

blended the circular movements he had learned from his

father with the system he had learned from Mitose.[10][12]
Chow experimented and modied his art, adapting it to
meet the needs of American students.[10]

Ed Parker learned Kenpo Karate from Chow, eventually

earning a black belt,[13][14] Al Tracy claims that Chow
promoted Parker to sandan (3rd-degree black belt) in DeOriginally codied by Ed Parker, American Kenpo is cember 1961.[15]
largely viewed and marketed as a self-defense system. Parker initially called his art Kenpo Jujitsu. He started
Parker made signicant modications to the art through- teaching other Hawaiian Islanders attending Brigham
out his life, introducing or changing principles, theories, Young University in Provo, Utah in 1954. By 1956, he
and concepts of motion, as well as terminology. He left was teaching commercially in Provo.[14] Late in 1956,
behind a large number of instructors who teach many dif- he opened a studio in Pasadena, California.[16] He pubferent versions of American Kenpo, as Parker died before lished a book about his early system in 1960.[13] This
he named a single successor to his art.[4]
has been characterized as having a very Japanese inuence, including the use of linear and circular movements,
focused techniques and jujutsu-style locks, holds, and
1 Etymology and nomenclature
throws. When Parker increased the Chinese arts content
of his system, he began to refer to his art as Chinese
The word kenp is originally a Japanese translation of the Kenpo. Based on this inuence he wrote Secrets of Chi[17]
Chinese word "qun f". Its widespread, cross-cultural nese Karate, published in 1963, only very shortly after
adaptation has led to many divergent denitions of its ex- Kenpo Karate.
act meaning.[6]
The system which came to be known as American Kenpo
American Kenpo is often seen written as American was developed by Parker as his Specic System, and
Kempo, leading to some confusion over the terms pro- featured Parkers revisions of older methods to work in
[18]
nunciation. However, both are pronounced as if they more modern ghting scenarios. He developed new or
had an m. Kenpo is an example of romanization, heavily restructured American Kenpos forms and techwhile kempo results either because of straightforward niques during this period. He moved away from methods
anglicization or as a result of applying Traditional Hep- that were recognizably descended from other arts (such
burn romanization,[7] but failing to use a macron to indi- as forms that were familiar within Hung Gar) and established a more denitive relationship between forms
cate the long vowel.
and the self-defense technique curriculum of American
Kenpo. Parker also eschewed esoteric Eastern concepts,
such as ki, and sought instead to express the art in terms of
2 History
Western scientic principles and metaphors. During this
time Parker also dropped most Asian language elements
The modern history of American Kenpo began in the and altered traditions in favor of American English.
1940s, when James Mitose (19161981) started teaching
Because Parker continually developed/evolved his art,
his ancestral Japanese martial art, Kosho-Ryu Kempo,
students learned dierent curriculum interpretations and
in Hawaii.[8] Mitoses art, later called Kenpo Jiu-Jitsu,
arrangements depending on the time period (era) in
traditionally traces its origin to Shaolin kung fu and
which they studied with him. Since many instructors had
Bodhidharma.[9] Kenpo Jiu-Jitsu emphasized punching,
gone their own ways but didn't continue with his continual
striking, kicking, locking, and throwing.[9] Mitoses art
updating, consequently Kenpo today has several dierwas very linear, refraining from the circular motions coming versions of technique examples or arrangements.
mon in American Kenpo.[10]
One of the best-known students of Ed Parker was Elvis
William K. S. Chow studied kenpo under James Mitose,
Presley.[19]
[9]
eventually earning a rst-degree black belt., and also
studied Chinese kung fu from his father.[11] Chow eventually taught an art, which he called Kenpo Karate, that
1

4 CREST

Features

American Kenpo emphasizes fast hand techniques used

in rapid succession. Kicks are less common, and usually
directed at the lower body because high kicks are slower
to execute and potentially compromise the practitioners
balance.
Physically, American Kenpo develops strength, speed,
balance, and stamina.
Although each American Kenpo school will dier somewhat, some common elements are:
Basic Principles, concepts and theories such as
Marriage of Gravity settling ones body weight
in order to increase striking force, and many others
out lined in his Innite Insights Books (5).
Every block is a strike, every strike is a block a
block should be hard and directed enough to injure
an opponent, decreasing their ability to continue an
attack. Every strike should counter an opponents
International Kenpo Karate Association crest
movement, decreasing their ability to mount an attack.
Dragon Represents quintessence, uidity, and agility,
Point of Origin refers to moving any natubut also spiritual strength and the later stage of a
ral weapon from wherever it originates rather than
martial artists training. The dragon is placed above
cocking it before deploying it. This helps to elimithe tiger in the crest to symbolize the importance
nate telegraphing of moves.
of mental/spiritual strength over physical strength.
This does not mean that physical strength is unim Economy of Motion Choose the best available
portant. What it does imply is that martial artists
target, Choose the best available weapon, Choose
need to have a good moral to guide their physical acthe best available angle, in the least amount of time,
tion. Also, the Dragon in Chinese culture represent
to get the desired result.
the celestial guardian of the East cardinal direction.
The yang aspect of individual.
Personalization Parker always suggested that

once a student learned the lesson embodied in the Circle The circle represents continuity.
ideal phase of the technique, they should then
search for some aspect that can be tailored to their Dividing Lines The lines within the circle represent the
own personal needs and strengths.
original methods of attack rst learned by ancient
practitioners of the Chinese martial arts. They also
demonstrate the pathways which an object could
travel by.
Crest

Colors The colors are representations of prociency

The design of the I.K.K.A Crest was completed in 1958
within the art alluding to the colored belt ranking
when the art of American Kenpo was gaining internasystem. The white represents the beginning stages
tional notoriety. The crest design was meant to symboliand progresses through to black (expert level) and
cally represent the arts modernized form while simultathen red (professorship).
neously acknowledging the roots of American Kenpo in
Chinese Characters The writing acknowledges the arts
traditional Chinese and Japanese martial arts.[20]
Eastern roots. The characters on the right of the
crest translate to Law of the Fist, "Tang/Chinese
Tiger Represents bravery, power, and physical strength.
Hand ( )" or Empty Hand"( )" a.k.a. Kenpo
It is the early stage of a martial artists learning. It is
Karate. The characters on the left translate to
important to work on the basics (e.g. to have a good
Spirit of the Dragon and the Tiger.
horse stance) to prepare the body for later advancement. Also, the Tiger in Chinese culture represent Shape The shape of the crest represents the structure of
the celestial guardian of the West cardinal direction.
a house. The walls and roof are curved to keep evil
The yin aspect of individual.
from intruding. The ax at the bottom of the crest is a

3
solemn reminder that should a martial artist tarnish
the reputation of the organization they will be cut
o completely.
[21]

[3] Black Belt. Books.google.co.uk. Retrieved 2015-0513.

[4] Black Belt. Books.google.co.uk. Retrieved 2015-0513.
[5] Black Belt. Books.google.co.uk. Retrieved 2015-0513.

Belt rankings

[6] Kempos Tai Chi Connection. Kung Fu Magazine. Retrieved 2010-02-06.

American Kenpo has a graded colored belt system consisting of White, Yellow, Orange, Purple, Blue, Green, [7] Hepburn romanization provides for the use of the letter
m when precedes a labial consonant such as p.
Third degree Brown, Second degree Brown, First degree Brown (Sometimes First, Second and then Third De- [8] Corcoran, J.; Farkas, E (1988). Martial Arts: Traditions,
gree Brown indicated by an increasing number of stripes
History, People. New York City: Gallery Books. ISBN
0-8317-5805-8.
on both sides of the belt) and First through Tenth degree Black. Dierent Kenpo organizations and schools
may have dierent belt systems. For example, the [9] Mitose, James M. (1981). What Is Self Defense? (Kenpo
Jiu-Jitsu) (2nd ed.). Sacramento, California: KoshoW.K.K.A (World Kenpo Karate Association) includes an
Shorei Publishing Company. ISBN 0-939556-00-6.
advanced rank for each belt (except White), signied by
a stripe of the next full belts color worn on one end of the [10] Parker, Ed (1982). Innite Insights into Kenpo, Volume
1: Mental Stimulation. Los Angeles, California: Delsby
belt. They also include a 3 degree Red belt prior to rst
Publications. ISBN 0-910293-00-7.
degree black. The black belt ranks are indicated by halfinch red 'strips up to the 4th degree, then a 5 inch 'block'
[11] Perkins, Jim (July 2005). William Chow: The Lost Infor 5th. Thereafter, additional half-inch stripes are added
terview. Black Belt Magazine (Cruz Bay Publishing, Inc).
up to the 9th degree. For 10th degree black belt, two 5
inch 'blocks separated by a half-inch space are used. In [12] Wedlake, Lee Jr. (April 1991). The Life and Times of
Ed Parker. Black Belt Magazine (Cruz Bay Publishing,
some styles, an increasing number of stripes on both sides
Inc).
of the belt can indicate black belt ranks.
There are dierent requirements per belt depending on
the school. Mr Parkers IKKA schools stayed with the 24
techniques per belt system. After Mr Parkers death, a
small number of black belt instructors claimed that Mr
Parker was considering adding a second, easier 16 technique curriculum but were unable to provide any evidence
to that eect. This claim was largely debunked. The ofcial nding of the IKKA found that Mr Parker only had
one curriculum implemented (24 techniques) and had no
plans on changing it. Even though some schools today
have adopted the new 16-20-24 syllabus technique system
as their standard. The 24 and the 16-20-24 Technique
syllabus contain exactly the same criteria, but obviously
at dierent belt levels. In addition to Self-Defense Techniques Ed Parker set specic criteria required for prociency at each level. The criteria included basics categorized by stances, blocks, parries, punches, strikes, nger techniques, kicks, and foot maneuvers. Beyond prociency, a students character and attitude can also be analyzed as a major consideration in the promotion to a new
rank.[21]

References

[1] Black Belt - Google Books. Books.google.co.uk. Retrieved 2015-05-13.

[2] Black Belt. Books.google.co.uk. Retrieved 2015-0513.

[13] Parker, Ed 1960, Kenpo Karate: Law of the Fist and the
Empty Hand, Delsby Publications, Los Angeles, CA
[14] Setting History Right 1954-1956. Kenpo Karate. Retrieved 2014-02-17.
[15] Tracy, Will (1999-08-08). Kenpo Karate Setting History
Right - The Blackbelted Mormon. A Brief History of
Kenpo. Kenpo Karate. Archived from the original on 19
December 2008. Retrieved 2008-11-08.
[16] Tracy, Will (1999-08-08). Kenpo Karate Setting History Right 1956-1959. A Brief History of Kenpo. Kenpo
Karate. Archived from the original on 1 November 2008.
Retrieved 2008-11-08.
[17] Parker, Ed (1963). Secrets of Chinese Karate. PrenticeHall. ISBN 0-13-797845-6.
[18] Parker, Ed (1975). Ed Parkers Kenpo Karate Accumulative Journal. Pasadena, California: International Kenpo
Karate Association.
[19] Pollard, Edward; Young, Robert W. (2007). Kenpo 5.0.
Black Belt Magazine (Cruz Bay Publishing, Inc) 45 (1):
76.
[20] Parker, Ed (1982). Innite Insights Into Kenpo vol.1. Los
Angeles, California: Delsby Publications. p. 122. ISBN
0-910293-00-7.
[21] Parker, Ed (1982). Innite Insights into Kenpo Vol.1. Los
Angeles, California: Delsby Publications. p. 122. ISBN
0-910293-00-7.

Further reading
Parker, E. (1982). Ed Parkers Innite Insights into
Kenpo, Vol. 1: Mental Stimulation. Delsby Publications. ISBN 0-910293-00-7.
Parker, E. (1983). Ed Parkers Innite Insights into
Kenpo, Vol. 2: Physical Analyzation I. Delsby Publications. ISBN 0-910293-02-3.
Parker, E. (1985). Ed Parkers Innite Insights into
Kenpo, Vol. 3: Physical Analyzation II. Delsby Publications. ISBN 0-910293-04-X.
Parker, E. (1986). Ed Parkers Innite Insights Into
Kenpo, Vol. 4: Mental and Physical Constituents.
Delsby Publications. ISBN 0-910293-06-6.
Parker, E. (1987). Ed Parkers Innite Insights Into
Kenpo: Vol. 5: Mental and Physical Applications.
Delsby Publications. ISBN 0-910293-08-2.
Parker, L. (1997). Memories of Ed Parker: Sr.
Grandmaster of American Kenpo Karate. Delsby
Publications. ISBN 0-910293-14-7.

External links
KenpoTech.NetA site dedicated to the preservation of Ed Parkers American Kenpo Karate. Includes full details on techniques, forms, sets & more.

EXTERNAL LINKS

Text and image sources, contributors, and licenses

9.1

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