Kenpo and Kempo

From MartialTalk Online Martial Arts Encyclopedia Project

(Redirected from Kenpo)

Kempō may also refer to the Constitution of Japan (憲法) or to Japanese Kenjutsu (剣法）

Kenpō or Kempō (拳法 lit. fist law) is a common Japanese term for several different types of martial arts. Originally, it was a phonetic transliteration of a grapheme coming from the Chinese word quan fa (or chuan fa), meaning "fist principles", "fist law", or "law of the fist."

1 English Phonology of 拳法
2 Kenpō/Kempō in the East
3 Kempō in the West
4 Kempō and Karate
5 Kempō as a Generic Style Name
6 Partial List of Styles and Systems

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English Phonology of 拳法

Kempō is written with the characters 拳(Ken) and 法(Hō or Nori). In Japanese, however, when a 'n' precedes a 'p', the 'n' sound changes to an 'm'; Also, the phonetic spelling for Hō become Pō after the preceeding kanji of "Ken". According to the Modified Hepburn system (the oldest and most widely-used system for English speakers) of Romanizing the Japanese language phonetically (Romaji), the correct spelling is: "Kempō". Therefore, it shall be used throughout the rest of this article when it is used outside of a specific name for martial art but it in now ways implies superiority over another spelling.

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Kenpō/Kempō in the East

In Japan, Kempō refers to a large number of different (and mostly unrelated) systems of martial arts. Some of these originate from ancient Japan (Koryū Bujutsu) which merely used the grapheme to describe their philosophy and techniques, yet had no direct relationship to China. Many others did take lineage from China, and thus used the term in accordance with its personal history. Also there are modern martial arts/systems (Gendai Budo), such as Shorinji Kempō, that tie themselves to Chinese roots.

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Kempō in the West

In the West, Kempō is known primarily as a style similar to Karate (and sometimes called 'Kenpo/Kempō Karate'). Most Western Kempō styles (known by their use of the black uniform), can trace their lineage to the controversial James M. Mitose, a Hawaiian born Japanese who taught several students from late 1930s and into the early 1950s. In broad terms , kempō can be split into two catagories; practitioners of kempō in North America America that have been trained in one version or another of the Ed Parker system, which traces its origins back through William Chow (Chinese Kara-Ho Kempo Karate), as well as James Mitose, and what is increasingly being called, in general and/or specifically, Hawaiian Kempō, all of which have shared roots in Kajukenbo. Some of the lineages may be more tenuous, with cross training from the Hawaiian side (Chow/Emperado/Walter Goodin/Sonny Gascon/John Hackleman (Chuck Lidell's instructor)) to the "American" side Ed Parker (EPAK). For example, George Pesare trained in Kajukenbo under Sonny Gascon, who then split from Kajukenbo and changed the name of his style to "Karazenpo-Go-Shinjutsu". However, Pesare later studied under Chow and later, Ed Parker. Nick Cerio earned his black belt from Pesare, and Fred Villari earned his Black Belt from Nick Cerio. Villari changed much in his "Shaolin Kempo Karate" system, and more was changed by those who branched from his system and started their own schools. However, they still all have their roots in the martial arts from Hawaii. Most Kempō other than EPAK on the East Coast of the US can trace their roots to Kajukenbo.

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Kempō and Karate

Normally, Karate focuses on linear attacks and blocks, or straight moves, with power being more important than learning separate techniques. Most Kempō systems emphasize both circular and linear movement. Western forms of Kempō contain more grappling and throws than Karate. Both Karate and Western Kempō use kata, often using the same katas. Western Kempō kata are recent developements, tending to be based largely on the self-defense techniques rather than the principle based katas of Okinawan or Japanese kempō. Many of these western kata emphasize an "Americanized" kempō concept of rapid, multiple striking. These multiple strikes are sequenced to demonstrate cause and effect. An opponent hit by a strike will react in a predictable way, which means that the next strike can be reasonably predetermined. This leads to long and involved sequences of strikes in the kempō katas.

It should also be noted that kempō is not primarly a striking art done with the hands. Many systems of kempō, such as Tracy's Kenpo, contain a kicking curriculum that is as comprehensive as any other style. Kempō kicks are devastating and direct, typically being employed in a manner that allows the foot to get from where it is to it's intended target in the least amount of time with the least loss of power.

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Kempō as a Generic Style Name

There are many common terms used to describe the different styles of kempō. Although the terms are generic and mean pretty much the same thing, they have, through common usage, become associated with particular styles of kempō. Below are some of the more common terms.

Kempō Jujitsu Also known as -jutsu, -jitsu, and -jujutsu. The term -jutsu is most commonly used to reflect systems of Japanese or samurai origin. In Kempō, the term is most commonly used as follows:

To describe systems that are derived from Koshō Ryu Kempō (James Mitose’s system).

To describe hybrid systems that blend Kempō with some form of jujitsu, but with no relationship to the kempō-jujitsu of James Mitose.

Kempo/Kenpo Karate William Chow as the first to use this term to describe his art. Many styles that use this term today can trace their lineage back to Chow. In this case, Kenpo and Kempo are two spelling variations generally associated with a particular lineage.

Kempo Karate - Generally associated with styles that come from the lineage of William Chow, and most often used by the various Shaolin Kempo Karate styles. On rare occasions, the term is used in connection with Motobu’s Okinawan/Ryukyu Kempō.
Kenpo Karate - This spelling variation is generally associated with the American Kenpo systems coming from the Ed Parker lineage. That includes all styles and off-shoots.

Chinese Kempo/Kenpo The same as the above description of Kempo Karate. Usually used to reference a stronger focus on the Chinese side of the art. Kempō made it's way to the U.S from either Japan or Okinawa, but the term originated in China as did many of the original branches of Kempō. Many instructors will use the term "Chinese Kempo" in order to denote that origin, especially if the style of Kempō has been influenced by other chinese systems. Again the spelling variations occur depending on who is using it.

Chinese Kempo - Commonly used by those teaching a form of Kempō from the lineage of William Chow, and is a term that stems from, what is now considered by many as false, presumption that William Chow's father was a shaolin priest who taught his children kung-fu.
Chinese Kenpo - While Kenpo Karate is a generic term for all Parker lineage systems, Chinese Kenpo is a little more specific. Usually, instructors that teach pre-American Kenpo Parker lineage kenpo systems use this term. Parker's Kenpo went through several evolutions on it's way to becoming American Kenpo. From the early 1960s to the 1970s, Parker’s Kenpo was influenced by the Chinese martial arts. Many instructors who were with Ed Parker during that time still use that term to describe their art.

Shaolin Kempo/Kenpo Although there are actual systems that this name derives from (Villari’s Shaolin Kempo and Castro’s Shaolin Kenpo) the term is on it’s way to becoming generic itself. Although not that common, there are some systems that have no link to either system that use this term. The common denominator appears to be that these styles have added Shaolin Kung Fu animal styles (tiger, snake, dragon, crane, and etc) into their curriculum.

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