2 comments about Shorinji Kempo: Philosophy & Techniques. (Karate).

1. This huge 256 page harcover book is no longer in print and has become a collectors item for those interested in the martial arts. This little known martial art traces its origins more than 5000 years ago from India to China and to Japan. This system combines Zen meditation with self-defense training and physical health benefits. There are eight comprehensive chapters covering, history, philosophy, basic techniques, throwing techniques, pinning techniques, applications and self-defense techniques. In conclusion, this short review cannot do justice to this fantastic book. If you are a student of Shorinji Kempo, this is a must own book for you. If you are a serious student of the martial arts, you may also want to get a hold of this book for your collection. Rating: 5 Stars. Joseph J. Truncale (Author: Martial Art Myths, Season of the Warrior, Never Trust a Politician, Combatives 1, 2 official Manuals, Tanto-Jutsu manual, PR-24 Police Baton Advanced Techniques, Police Yawara Stick Techniques).



2. Years ago, I had the very good luck to meet a Japanese [Nidan] follower of this fine Art and exchange ideas and methods for several weeks. Being a follower of a small Kenpo Art this was inspiring for me. This Shorinji Kempo follower gave me the interesting book under review as well -- nowadays quite ragged and beat-up [my book that is]. The following is shown by this book as well as confirmed by my Kempo-Kenpo friend long ago --
   
   The founder of Shorinji Kempo had a strong grounding in various Martial Arts in Japan [including Kendo, Judo and Kempo] -- and in China, learning from Kungfu mentors and visiting a Shorinji [Shaolin] Temple during intellegence service for Japan before World War Two. Doshin So, this founder, was Inspired in particular by a large wall mural in that Temple to present Shorinji Kempo as a Buddhist Art of Defense -- training via Embo [mutual co-operative sparring]. Followers of various Arts also do some kind of similar testing and feeling-out of moves from slow-and-soft to fast-and-hard -- but the genious of Doshin So was to have Embo be a formal long term practice-way as well as other usual Kata, Waza and Bunkai [pattern, method and usage ways]. The self-defense aspect of Shorinji Kempo is divided into Goho ["hard-way"] and Juho ["soft-way"] sections -- kind of like Kenpo-and-Karate for Goho and Judo-and-Aikido for Juho. This is fairly practical learning-wise, range-wise and usage-wise. Also, like my own Kenpo Art, this Kempo Art, especially as presented in this book, appears to have a substantial Western Boxing influence +++

No comments about Kenpo: Shorinji Kempo, William Durbin, Kajukenbo, James Mitose, American Kenpo, Ry?-Te, Ryukyu Kempo, Tracy Kenpo, Kosho Shorei Ryu Kempo.

1 comments about Koga Ryu Ninjutsu: The Ancient Art of Stealth and Strategy.

1. Koga-ryu Ninjutsu is full of history and introduces you to a few secrets that I have not found in any other books on the subect...for instance karumijutsu, the body lightening art. This book is by no means a comprehensive manual to teach you everything about ninjutsu, but it will give you a foundation to point you in the right direction of some aspects of this little known art.

4 comments about Chinese Kara-Ho Kempo: Fundamental Practice and Techniques.

1. 2 stars is earned by the unique historical information on Prof. Chow in Ch. 1. Obviously, I am unable to make comments on his art. Detailed history would get 5 stars. Ch. 2-3 is about stretching, stances, and a plug for pills. Yawn. The photos include complete bodies. The captions seldom describe form rather than function. Yawn. There are more pictures of conditioning and leaping high kicks than anything else. That's acrobatics, not street fighting. There are many pictures of a female holding a foot high in the air. This looks like a book about tournament-oriented kickboxing.

   Then, there's the touchy subject of mastery. Ok. Here's the fishy part. How does one secure a promotion from 1st degree black belt to 5th degree in two years (1978-80, plus his training with Chow from age 18-21) and then to 9th degree in four years, 1978-1984? Mastery takes a long time. Hand out grades do not. Kuoha writes that he was training remotely because he visited Chow weeks at a time. He insults all of the schools in California and doesn't mention a training partner in California. So, unless he names his training situation in California, we can only assume solo practice. In one chapter, Kuoha writes that these training sessions were 14-15 hrs/day. In another, 15-16 hrs/day. Didn't he check his own book? Also, he states that he medically retired from the police force and then renewed his studies with Chow. How does someone so physically-challenged manage to train hard core martial arts? This makes little sense to me. This situation deserves a more detailed explanation to rescue it from a a Grand Canyon in credibility.

   Kuoha should write a detailed book on Kempo, specifically the training methods and demeanor of Chow. Little is written on the life of this Hawaiian pioneer. I bet Kuoha has a *lot* to offer, but it's not in this book.




2. I missed the one page on Sam's training partners, mostly because the photo of his ice-breaking stunt was a real turnoff. The author should have written that he studied a number of non-Kenpo arts and trained with proficient partners. One line reads that he collected black belts in several other arts. The more I read, the fishier it gets. Kuoha will have to write a detailed chronicle of his training to explain his lineage. Right now, it appears that he has difficulty explaining how he inherited the top position of Chow's organization with a few years of off-site training.

   After reading the book several times, I'm still left with the impression that Kuoha really needs a show to promote Chow's art. Somehow, I get the impression that the pressures of commercialism are great on the shoulders of Kuoha. Perhaps it's time to leave Kenpo and move on to disco karate.




3. This may not be the best book, on telling you how to appropriately master this particular style of martial art, but it does have cute ka'imi kuoha, and her sexy feet, in it!......



4. While nothing can replace a good instructor in learning martial arts (there is more to learning any art than simply the mechanics of how to do the moves), this book does a good job in covering the basics of any good martial art; stretching, conditioning, strikes and kicks. In addition, it provides a good history of the Kara-ho system. The conditioning goes beyond warm up and provides effective exercises that enhance fighting performance. The strikes and kicks are presented in pratical terms of how they are used (application). The only I would have liked to see more of is the techniques of Kara-Ho which make it such a devastatingly effective martial art.

1 comments about A Breath Of Fresh Air: Kempo Karate Novice to Intermediate.

1. This book is the best book ive read in a long long time on kempo karate. The sequences are easy to follow and make up fantastic self defense routines
   
   It's well worth the money! I recommend it!

3 comments about Okinawan Kempo.

1. This was the second of what are now 4 special edition reprints of older karate books issued by Master Publication of Canada, run by Don Warrener (Goju). Although this edition of Karate pioneer Motobu, Choki's book is useful and should a part of any historical karate collection, there are several issues which anyone wishing to purchase this edition should be aware of.

   The photos have been retouched, severely. Most of what you will see are not reproductions from an original text, but apparently paint or charcoal reproductions (or extreme enhancements, if you will) of the photos from an earlier edition. I found these no more difficult to understand than photos in earier reprints, although some of the ambiance is lost. This Masters Publications "translation" bears a striking resemblence to the English translation put out nearly twenty years before by Okinawa Karate teacher Oyata, Seiyu in 1977("Okinawa Kempo: Karate-Jutsu on Kumite"). Comparing the two texts sentence by sentence, I could not help feeling that the Masters Publications "translation" was simply lifted from Oyata's earlier work, although neither Oyata nor any other translator is credited with this book's work, unlike other volumes in this series. I also found it odd that Masters Publications was not able to translate into common pharmacological terms the exact same herbs Oyata left untranslated. Certainly a professional with today's resources would have had better luck?

   Although This newer edition is beautiful (cloth covered boards, cloth covered box, dust jacket, etc.), I must admit that I treasure more the unretouched little booklet translated by Oyata in 1977. For an English translation of Motobu, Choki's OTHER book, contact Patrick McCarthy of the International Ryukyu Karate Research Society.




2. If you're interested in true martial art, the art of war, you should buy this book. Don't pay attention to the quality of the photos and don't forget any detail.
   Enjoy!



3. The work of Choki Motobu is very intersting, but the comments of the editor are not sufficient. The predominent part of the book shows only one charcoat figure on one page and a few words on the other page. There are no words about the basis of Motobus interpretation of Okinawan Karate. In the figures he shows a lot of sequences out of the kata naihanchi ( shodan, nidan, sandan) and some sequence of the Bubushi. He shows atacks to kKyusho points very exactly. But there is no explanation of the new editor, no comment. People who dont know the backround of the special content of Motobus techniques cannot understand the book.
   H,Kogel M.D., Professor of surgery, 5th Dan Karate ,Kobudo Renshi, Reg.Dir.IMAF Kokusai Budoin

No comments about Kyusho Health & Wellness Program©.

5 comments about Mastering Kempo (Mastering Martial Arts Series).

1. I found this book to be a very interesting and informative look at the art of Kempo. The author presents information in a refreshingly unbiased, down to earth manner which is very easy to read and digest. While this book will by no means teach you Kempo (it focuses more on the WHY than the HOW), I have found it to be an excellent addition to my lessons. Many of the ideas in the book will blend well into any form of Kempo, and probably other arts as well. The author presents many interesting and effective ideas on training, both physical and mental, as well as loads of interesting history. The only complaint I could possibly make is that I wanted to read MORE when I finished! I hope the author chooses to expand the information presented here in future volumes.



2. A special method of Kempo training origins during class called "Embu". Embu is extremely efficient way of teaching students how to apply their skills in actual combat while avoiding the contentiousness nature of sparring. Sparring is not the traditional method for teaching martial arts. The purpose of sparring to teach speed, distance, rythm, and timing. However, the end results of sparring while not create the desired quality and deep understanding of the art.

   Anciently, the fighting monks practiced kempo to improve personal security against bandits. It is very doubtful these monks would have engaged in actual fighting to practice the martial art. Monks regarded injury to an another human being as unacceptable. Often after a real confrontation, they would administer relief to the injuried attackers, when possible. The monks sought peace and esteemed themselves as pacifist. So, how did they obtain fighting skills second to none?

   The monks practiced kempo using the philosophy called embu. Embu in Japanese means "Martial exercise." The first Embu method has two partner moving simulateously, without any prearrange techniques. They move softly and slowly maintaining safety. The one punch pull is required to avoid contact and serious injury. The flow between defense and offense is expressed during the exercise. To the viewer, it seems like the practitioners are engaged in a dance: weaving, entering, blocking, and striking. The use of hand and foot skills is encouraged. As the skill levels increase, vitals areas become the pin point targets. Embu should appear effortless and direct.

   The second embu method requires coreograph or a set of moves to be practiced. A group of four students work together with one student defending against the other three. Each student has a set of moves to perform, whether it be an attack or an defense. As students masters the old movements they can begin to create new movements. The new movements usually are created after a few years of study with the teacher. At first the student learns how to perform each movement. The movements are practice slowly at first, and the speed increased as their skill improves. Eventually, the practice increases in speed and power. The attacking students measure their response after each defense technique is performed by the defending student. The flow of motion can increase in speed and power until it closely approximates real combative environments. The one inch pull punch or kick is encouraged, to avoid serious injury, and allow for continueous training. If injury starts to occur during training, students are required to examine levels of control, slow the techniques down, and apply an softer application of the technique.

   Eventually, the subtle mysteries of the technique are revealed, and as the student reflects on the technique a vast range of application are realized: joint turns, throws, cavity presses, blocks, strikes can be seen in the technique. Additionally, the use of chi and mental focus changes the techniques consequences. Kempo real power is understanding vital points and how mental focus increase the effectiveness of the strikes and block. The most powerful material breakers are often practitioners of kempo. Softer and more penetrating potential is realized by the defending student. The student begins to visual the physical consequences resulting from each techniques. The degree of reflection depends on the understanding of the student and their perspectiviness. Students are required to reflect on their practice and work together to improve each others perfection.

   Kempo techniques are expanded to use grappling. Anciently and modernly, Chin na expresses itself within the philosophy of kempo. Throws, chokes, joint locks put the receiver down. Finishing strikes can be apply allowing the practitioner to clear the oppponent before moving to the next attacker.

   During practice Kempo trains against a vast variety of weapons: knives, clubs, staff, sword, and hand to hand. Embu philosophy still applies regardless of the attack pattern and type. The goal is to blend and work harmously and effortless against a wide range of spacial patterns. Position, speed, power, and feel are developed during practice.

   Embu does not encourage aggression. It allows realistic self-defense training. The result is a stronger feeling of calmness and control by the student. More importantly it enourages cooperation and control through a heighten sense of awareness. Movement can flow from one attacker to another, awareness of how space can be occuppied is anticipated. Vulnerabilities become traps with counters, locks, and strikes responding. In Kempo, embu is essential to proper training and development.




3. I like this book and would recomend it. However I was hoping for more kata than what they gave in this book. It is great for learning blocks, kicks, and punches, but not much else



4. I'd actually like to give the book ***1/2, but I figure since they only allow whole numbers, I'll round down. Much can be learned from this book, of you are a begginer, or practice another Asian fighting form. Particularly, I like the explaination of Embu, and the principles behind Kempo's fluid striking combos. One thing that caught my eye is how the author always tried to link Chinese, Okinawan, and Japanese martial history, ephasising Okinawan. I'm no historian, and though I doubt the links were as close as presented, it did pique my interest in seeing how accurate the history was, and has therefore opened my eyes to Karate/Kung-Fu/Kempo history. Some basic striking techniques are presented, but the bulk of the book is not "how to do a front punch", it is "do this to make any strike more effective". I dislike, however, that the author seems to call every Asian art Kempo, including Jeet Kune Do. Overall, the book is good to read, but mostly for the "art/philosophy/history" types. Folks interested in sport or protection would do better to look elsewhere.



5. Having been a huge fan of Bill Durbin's many articles published in the various martial arts magazines during the 1990s, I was really excited to see another book out by him. What I have always enjoyed about his writing is that he provides an incredibly well researched historical background on the various topics, in addition to the technical/technique information. So many modern "martial arts" are so far removed from their historical lineages that few people truly understand where true martial arts (combat arts) came from and how the training originally happened. While there are some great MA history books out there (Draeger et al), all the emphasis on modern sport fighting/competition has really muddied the traditional true martial arts water, so to speak. Durbin seems to be a true traditionalist, and always backs up his theories with historical fact, which I appreciate very much; a nice breath of fresh air and a change from the "just do it this way bcause that's the way we've always done it" mentality of many MA systems. While it's true that this book is not even remotely a comprehensive kempo instruction manual, it IS a solid insght into the basic foundation of kempo in it's historical, combat-oriented context. I highly recommend it, and encourage anyone interested in books of this nature to see if they can locate and/or download any of his past articles (I have about 60 of them, and I know there were some that I didn't get) from magazines like Black Belt, and Karate/Kung Fu Illustrated.

5 comments about Advanced Pressure Point Fighting of Ryukyu Kempo: Dillman Theory for All Systems Point Fighting.

1. God knows I wouldn't claim my experience to be either exhaustive or authoritative, but of the two times I've knocked someone out, one was with a pressure point. I didn't know it at the time. I just knew that I had barely touched the guy with my kick, just inflicting a very light, barely noticeable on my end, "thump." But the location I hit him at was pretty clear, and imagine my surprise years later to learn that there is a knock-out point at that location. (The other time I knocked someone out was with a pugil stick during Marine Corps bayonet training.)
   
   In addition, years ago I spent a few months--regrettably did not get to spend more--training with some Ryukyu Kempo people. I experienced the tuite techniques--many of which rely on the pressure points and hyperextension of the nerves for their effectiveness--and found them effective.
   
   For those who suggest that cooperation is required on the part of the person getting the technique performed on them, no doubt that is what it looks like in a demonstration. It is a demonstration, after all, not a fight. And it is surely true that application of these techniques is more difficult in a fight than in a demonstration, but that is true of just about any technique, isn't it? The answer to that problem is the same as it has always been--practice.
   
   As far as the lack of these techniques in the UFC proving their ineffectiveness, all I can say is that in the limited amount of UFC-watching that I have done, I didn't see any dangling eyeballs from eye gouges; I didn't see any crushed tracheas; I didn't see any snapped fingers, ripped-off ears, or any biting, or anyone pick up a bludgeon. Nor did I want to; the point is that poking eyes, jamming fingers into the windpipe, twisting or biting ears, or even use of weapons are all proven combat-effective techniques, and they appear to be absent from UFC competition.
   
   God knows I wouldn't want to climb into the ring with one of those guys; they are all obviously much fitter and stronger than I am. But it is a mistake to conclude that because two big, strong, guys step into a ring to do some combined kickboxing and grappling that only their techniques are effective in ordinary self-defense situations.



2. The contents of the book is accurate as far as I can tell. I am also a follower of pressure point fighting, BUT I felt that this book contained a lot of practically irrelevant pressure points.
   The book can help you to advance your technique and to add some points into your list of targets, but you need to read selectively. Example: The upper lip "is not a hit point. Rather it is a rub-point". I would not bother to rub an upper lip if I can turn the nose into bloody mud. This book advocates a soft style of fighting, which depending on where you expect to fight, might not be the most effective way. The other issue is, that an attacker will hardly wait and pause to allow you to hit his pressure point accurately. Most of these points are farily small areas and difficult to hit.
   Therefore, I think the contents is accurate, but only a small portion might be useable.



3. 
   
   It has been said that "Nothing is EVERYTHING but everything is SOMETHING". This book is another piece in the puzzle of understanding martial technique.
   
   I have trained with Mr. Dillman on numerous occasions. I was initially very skeptical of his technique and his flamboyant personality did little to allay my suspicions. My first impression was that his technique was unlikely to be effective. I have since been dazed or knocked out by him on several occasions. I can attest that many of his pressure point techniques are extremely effective.
   
   I do not think that pressure point fighting should be the core aspect of a system, but it certainly helps improve the effectiveness of technique.
   
   I have seen and used his pressure point techniques. They knock some people out cold and others seem unaffected at all. I have experimented with using students who have no idea I am about to do a pressure point technique. The power of suggestion or "willingness to be knocked out" does not seem to be a big factor on whether or not a move works.
   
   Simply stated, it works on some people but not on everyone. I am not going to make pressure point fighting the foundation of my fighting system, but it is certainly going to be one of the building blocks.
   
   This book suffers the same shortcomings as almost all martial art instruction books. Video is really a better media for such information. Still, I would recommend all serious martial artists examine Dilman's contributions to the martial arts community.
   
   I think his greatest service to the world of martial arts is that he has made many people aware that many arts have lost key combat applications of traditional technique.



4. YouTube & wikipedia George Dillman and you'll see & hear his bizarre explanations why his techniques fail on non cooperating volunteers.
   
   This book belongs on the same shelf as Lord of The Ring. Anyone that thinks that an agressor will slowly walk up to you and allow you to do these dubious poky attacks, will wind up injured or may be even dead.
   
   If you're unable to train in a realistic fighting art, spend your $$$ on a Krav Maga book or a good pair of sneakers. At least both are proven effective defensive mechanisms.



5. After 10 or 15 years of doing the same kata one begins to wonder what else is there about kata and these techniques? In the late 80's I came upon Dillman's tapes and books and was amazed at the effectiveness and efficiency of use. After exploring the many variations of "a punch is a block is a throw is a punch" some still wonder what else might be missed with the kata. This book opens another useful door for your kata and kumite techniques. Now after 40 years in the traditional martial arts I still continue to marvel at Dillman's revelations.
   Thanks for opening another window of understanding.
   Roberto
   [...]

5 comments about Ultimate Kempo: The Spirit and Technique of Kosho Ryu.

1. This book is not to be read only, it is to be studied. The concepts presented are applicable from the novice to the expert. As you progress in your martial art and keep referring to and studying this text, more subtleties and techniques will become apparent and your applications in self defense will be much more effective. The book is well written, well illustrated and contains no "fluff". I highly recommend this book to any person studying and practicing a martial art, no matter what his style. It will serve as a guide to be referred to again and again throughout one's studies.



2. Driscoll Sensei has distilled his study of Kosho Ryu Kempo's concepts and principles into a well thought out and well laid out book. Any martial artist from any style will be able to gain useful insights on movement that will enhance their training. While the majority of the book reveals the concepts, principles, and waza of Kosho Ryu, the introductory chapters touch on budo and philosophy and are worth the readers' attention.
   There are a number of excellent martial arts books available out there and this is one of them.



3. I am highly impressed with the quality and the values this book offers. When it arrived in the mail as I opened the box my very first thoughts were, "this is stunning craftsmanship and very well put together!" It is truly an inspirational collection of information that is informative as well as motivating. A valuable resource for any individuals involved within the martial arts. It gives insight on how to break down ego by NOT taking yourself so seriously but by being SERIOUS about what you do. Now isn't this the kind of advice we could all benefit from?
   
   Particularly, I found the philosophy to be captivating with chapters that discuss, "study, growth, and struggle." This information is delivered in a manner that suggests that it reaches far beyond the boundaries of the martial arts but should also be applied to other aspects of the individual's life and their perspectives. The reader begins to see themselves as the root to all of their personal conflicts and the author encourages the practitioner to take control of their life by adjusting their focus from their problems and hardships and redirect their energy into finding and obtaining solutions.
   
   Through this book the author teaches self defense concepts in this very same manner. To TRULY study your opponent's movement and body structure in order to find the most efficient escape or counter attack. At the same time these concepts are explained in an understandable manner with the use of many visual aids. And then you can review all of this material at your own pace with the DVD located in the back of the book.
   
   My favorite quote from this book would be, "A good teacher can take you places that you have never been, while a great teacher can dramatically change the place you are in." And it is my opinion that the author has done exactly that with this remarkable study guide.



4. From my limited experience, Kosho Ryu (in this book) is an 'ah shucks wow' dynamic form of force multiplier for a wide range of techniques. Simple single joint joint-locks, for example, become effective since the Kosho Ryu fun begins at the instant your opponent begins to counter the lock. Book assumes MA basics are known, but that said, it provides best MA book/DVD combinations I've ever used to effectively convey the intended material. I doubt anyone who prefers randori training will find better media for learning the essentials of Kosho Ryu.
   
   Only complaints - attacker and defender are both wearing black and the camera-mounted mic did a great job of picking up camera motion noise.



5. This particular work, "Ultimate Kempo", of the still fairly rare Kosho Ryu ones -- is a very welcome addition to the older works covering Kosho Ryu Kempo. Kosho Ryu appears much like a mostly "soft" [fluid] Art -- somewhat like Aikido and Daoist Internal "Boxing" Arts. But Kosho Ryu shares much with Jiujitsu and [of course] Kenpo "Boxing" Arts. This very fine work, by Jeff Driscoll, includes an excellent DVD to demonstrate Koshyo Ryu concepts and motions visually in fluid action. Despite this being the third major work on Kosho Ryu -- it is plenty good in itself to introduce this endless Kempo Art of "Health-Defense". This includes aspects of -- abstract and concrete -- principle and practical -- concepts and motions. Like many Kempo [or Kenpo] Arts, Kosho Ryu is very well balanced in such areas as defense versus offense, circle versus square, loose versus close and percussion versus grappling. Koshyo Ryu is much like Aikido in being "soft" [fluid] -- but surely has plenty of "hard" [solid] Karate aspects to "sharpen" necessary self-defense. Minimizing violence can be gotten in several ways -- sometimes making sure it is ended quickly -- via some sharp impacts to enhance off-balancing a foe into a circular takedown. These detailed applications of Kosho Ryu strategy are very well presented in "Ultimate Kempo". So Jeff Driscoll furthers the lineage of James Mitose and Bruce Juchnik via this very well ordered and very well detailed work on "The Spirit and Technique of Kosho Ryu".
   
   At least from Hawaii and onward, Kenpo Jiu-Jitsu, and derivative Kenpo Arts, originate from Kosho Ryu Kempo [Mitose]. For example, the [very small] Kenpo Art I first studied informally [long ago], was a Kenpo Jiu-Jitsu Art -- and was indeed an offspring of Kosho Ryu Kempo [Mitose] -- in Hawaii -- with other influences such as Jiu Jitsu [Kiyose Nakae], Aikido [Gozo Shioda], Judo [Gene LaBell] and Modern Arnis [Remy Presas]. Many Hawaii Kenpo Arts do have Kosho Ryu Kempo as one major ancestor [as well as others]. Kara-Ho Kempo, Kenpo Karate and Kajukenbo are good examples -- with many Kenpo Arts [and their cousins] radiating from those three very large ones. So it may be very interesting and useful for recent followers of various Kempo [or Kenpo] Arts to see where they are coming from -- as well as other Artists interested in "traditional old school mixed martial arts" [my quotes] +++