Armstrong Kenpo Student Handbook

12/11/2018
Armstrong Kenpo Karate

Yellow Belt to 7 Degree Black Belt
th
8th Degree Black Belt and Founder | Shawn Armstrong

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Contents
HOW TO USE THIS MANUAL ......................................................................................................................... 4
Making a fist .................................................................................................................................................. 8
Dojo Etiquette ............................................................................................................................................. 10
How to Tie a Karate Belt ............................................................................................................................. 11
WHAT ARE THE DIFFERENCES BETWEEN MARTIAL ARTS UNIFORMS? ...................................................... 12
Armstrong Kenpo Lineage........................................................................................................................... 16
The History of Armstrong Kenpo ................................................................................................................ 17
The Armstrong Motto ................................................................................................................................. 19
About Mr. Armstrong.................................................................................................................................. 20
BUSHIDO ..................................................................................................................................................... 38
Values of the Modern Warrior .................................................................................................................... 40
Armstrong Kenpo Structure and Training ................................................................................................... 41
Commands in the school............................................................................................................................. 41
Legal Aspects of Self-Defense ..................................................................................................................... 43
Negotiation ................................................................................................................................................. 44
Bio ............................................................................................................................................................... 46
Verbal Force Techniques............................................................................................................................. 48
Criteria for Justification – Deadly Force ...................................................................................................... 54
Cooper Color Code System of Mental Awareness ...................................................................................... 55
Vision Awareness ........................................................................................................................................ 56
Slow is Smooth, Smooth is Fast .................................................................................................................. 58
Ten Kenpo Laws all Martial Artists Should Know........................................................................................ 60
The Importance of Visualization ................................................................................................................. 63
Muscle Memory - it's all in the mind! ......................................................................................................... 67
Mushin ........................................................................................................................................................ 69
The Mindset Difference Between the Sheep, the Wolf, and the Sheep Dog ............................................. 70
Maze Koze ................................................................................................................................................... 71
Foundations in Training .............................................................................................................................. 95
Kenpo Power Principles .............................................................................................................................. 96
Sparring ....................................................................................................................................................... 98
Vulnerable Points ........................................................................................................................................ 99
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The Purpose of Sets .................................................................................................................................. 102
Stance Set.................................................................................................................................................. 102
Blocking Set ............................................................................................................................................... 102
Movement Set .......................................................................................................................................... 103
Warming Up .............................................................................................................................................. 104
Self-Defense Sets ...................................................................................................................................... 105
Words of Wisdom on Budo ....................................................................................................................... 131
Bibliography ............................................................................................................................................. 234
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HOW TO USE THIS MANUAL
CLOCK PRINCIPLE
Method used to help candidates visualize the directions. Candidates are generally asked to think of
themselves as being in the middle of a big clock facing 12 o'clock, with 6 o'clock to their rear, 3 and 9 to
their right and left, and all other numbers in their respective locations.
ANGLES OF ATTACK
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Any techniques in this manual with an * next to it should be performed simultaneously (twin motion).
Making a fist
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Dojo Etiquette
I am very liberal about etiquette in my dojo. You can wear a gi, you can wear dobok, as long as it’s clean
and serviceable. They both provide comfort and utility. I do prefer black or white, NO BLACK COLLARS
on the dobok.
1. All Gi or Dobok will be clean and serviceable.

2. No street shoes on the training floor.
3. Upon entering the dojo (school), bow in.
4. When leaving the dojo, bow out.
5. Before you begin training, bow to your partner.
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6. If you make unintentional contact, bow to your partner (it will happen).
7. Before sparring, you will bow to the referee, and then to your partner.
8. You will bow at the beginning of class, which will be led by the instructor.
9. When you approach the instructor, come to attention, bow, then go to the “at ease” position,
and ask your question.
10. It’s your school, it’s up to you to keep it clean, don’t be afraid to grab a broom.
11. If you see a lower ranked candidate struggling, don’t be afraid to help out. If you can’t, get an
instructor.
12. Don’t be afraid to ask questions, or for extra help, that’s what we’re there for, learning.
13. If you are late, try not to be, bow in, and wait for the instructor to acknowledge you.
14. If the instructor is late, that should never happen, but the most senior candidate will begin
warm ups.
15. Everyone in the school will be referred to as Mr. or Ms.
16. If you hurt yourself, let an instructor know immediately.
17. If you are injured, try and show up anyway, observe and take notes.
18. Most of all train hard, even outside the school.
How to bow:
1. Come to the position of attention.

2. Place your right hand in the palm of your left hand.
3. Hold the hands at chest level.
4. Heels together, toes at a 45-degree angle.
5. Bend at the waist, back straight, eyes down, it shows trust between the candidates.
6. The hand remain at the same level during the bow.
How to Tie a Karate Belt
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WHAT ARE THE DIFFERENCES BETWEEN MARTIAL ARTS UNIFORMS?
Martial arts uniforms
Every martial art has its own techniques, philosophy, and grading system. In order to address and
accommodate these concerns, a specific uniform for each martial art has also developed over time. People
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who practice karate, judo, jiu-jitsu, and Tae Kwon Do have different needs and priorities when it comes to
training and competition, so their respective uniforms also have their own unique characteristics. What
makes karate uniforms, judo uniforms, jiu-jitsu uniforms and Tae Kwon Do uniforms different from each
other? Is there anything that makes them similar, other than the fact that they all use some variation of a
gi? Let’s break it down martial art by martial art.
Karate
Like all gis, karate uniforms involve two pieces of clothing: a loose-fitting top with a deep v-neck and a
pair of loose-fitting pants. From there, a number of variations are possible. Karate gi tops can either be
pull-overs (for convenience) or, more commonly, like a jacket that is wrapped around the torso and
fastened with a karate belt. Pants can either have an elastic waist or a drawstring waist. Both the top and
pants can come in a cotton/polyester blend, which is more affordable and great for beginners, or in 100%
cotton, which is more absorbent, more durable, and a more popular choice for people who train more
intensely. Karate uniforms come in three weights (light, medium, and heavy) and multiple colors,
although white is the most popular choice. The perfect combination of the above depends on the karateka,
their preferences, their training, and their goals. People who wish to compete, for example, will require a
gi that meets the rules of the tournament.
Judo
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Like their karate counterparts, judo uniforms also include pants and a jacket that is wrapped round the
torso and kept in place with a belt bearing the wearer’s rank. They’re also made of cotton and come in
multiple colors. After that, the differences start to become apparent. Judo has much more of a focus on
grips – grabbing an opponent’s gi in order to their movement, and to help execute throws and chokes –
than karate, so its variation of the gi features reinforced stitching at key grip points like the shoulders,
sleeves, and chest to withstand that extra wear and tear. Many pants will also have reinforced knees. The
collar of a judo gi is also much thicker, which is both for durability and to help accommodate the martial
art’s grip-based techniques. Judo uniforms can come in many weights, and the fabric of the gi can also
come in different colors and weaves. Again, many of these variations are a matter of a judoka’s personal
preference, although judo competitions will have specific rules concerning things like length and the size
of the sleeves.
Martial arts uniforms difference
Jiu-Jitsu
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Judo uniforms and jiu-jitsu uniforms are somewhat similar. If you’re casually training in BJJ, for
example, a gym might allow you to participate in your judo gi. The size of the judo gi might put you at a
disadvantage in sparring, though, because it allows for more submission-based attacks using your own
uniform against you. While the judo gi top is traditionally long and has wide sleeves, the jiu-jitsu gi’s
jacket is generally fits tighter to the body, with a shorter skirt, and shorter, narrower sleeves. Jiu-jitsu gis
come in different colors , weights, and weaves. Some can even be decorated with patches and embroidery.
While these possibilities allow jiu-jitsu fighters to personalize their gis, some gyms will have rules about
what colors and patches are allowed in class. BJJ and jiu-jitsu tournaments also come with their own
regulations about sleeve and pant measurements to ensure fairness.
Tae Kwon Do
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Just as Tae Kwon Do evolved from karate’s influence, Tae Kwon Do uniforms have evolved from the
karate gi over time. Today, the top TKD gi, also known as a dobok, has moved away from the wrap
around jacket favored by many other martial arts to embrace a more shirt-like v-neck jacket. This type of
top – which can also be used in some karate training but is far more prominent in Tae Kwon Do – is a
response to the techniques that TKD favors. It allows martial artists to execute their strikes without
concern that their jacket could come open at any time. V-neck tae kwon do uniforms come in different
styles, weights, and colors. Like the martial arts uniforms discussed above, the right choices on these
matters will depend on the martial artist. There is one rule that is unique to Tae Kwon Do, though: black
v-neck collars are specifically for black belts and should only be worn by people who achieved that rank
in the discipline.
Armstrong Kenpo Lineage
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The History of Armstrong Kenpo
Dragon Kenpo was organized by Ed Hutchison and has been continued and evolved by various
practitioners today and there are several offshoot styles that owe their roots and lineage to Dragon Kenpo.
To understand Dragon Kenpo we need to look at the roots of its origin and where it comes from. Kenpo
legends trace its origins to the Shaolin Temple, in my opinion this is most likely southern shaolin, or
perhaps styles from the Guangdong and Fukien provinces in China, as many elements of these styles can
be seen reflected in Kenpo. Styles from these areas include what is generally termed Hakka Kuen, and
styles like White Eyebrow, Dragon, Southern Mantis, even styles like Choy Lee Fut, Mok Gar, Chow Gar
and a host of others share similar elements to Kenpo. Many of these Chinese styles claim origin in the 5
elders of Shaolin, many bear relation to the 5 families Hung, Lau, Choi, Lee, Mok, and many of these also
contain the 5 animal styles tiger, crane, snake, leopard, and dragon. Chinese boxing from Shaolin and
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styles from other regions made its way from China to Okinawa and Japan, and eventually to the United
States. In Hawaii a man named James Mitose taught Kosho Ryu Kempo, one of his candidates was a man
named William Kwai Sun Chow, Chow learned his family art of kung fu before becoming a candidate of
Mitose. William Kwai Sun Chow blended the Kosho Ryu Kempo of Mitose with his family style of kung
fu, eventually calling his system Kara-Ho Kempo. Notable candidates of William K.S. Chow were
Adriano Emperado, one of the founders of Kajukenbo, and Ed Parker the founder of American Kenpo. Ed
Parker's Kenpo has many variations from his candidates who have put their own imprint onto Kenpo,
such as Al Tracy and Jay T. Will. Ed Hutchison learned Kenpo from Jay T. Will who studied under both
Ed Parker and Al Tracy. Dragon Kenpo as organized by Ed Hutchison has continued by various
candidates and within several offshoot systems as a streamlined self defense art that naturally incorporates
aspects of Kenpo but also includes elements of other martial arts such as Jeet Kune Do, Kali, and Thai
Boxing that fit the simple, direct, and efficient street fighting goal.
After training under Ed Hutchison, in 2018 Shawn Armstrong, a 3rd Degree black belt in Dragon Kenpo
analyzed the evolving threats faced by today’s martial artists. Mass shootings, stabbings, and decided it
was time to update the Dragon Kenpo system to address these threats. Using his training in Kenpo,
Taekwondo, Hapkido, and military hand to hand combat training, he expanded the system to be more
modern in its approach to deal with these threats. Hence, Armstrong Kenpo was born. Through the use
of weapons, such as knives, and improvised weapons, such as books, pens, pretty much everyday items,
to make the system ever expanding. Using the principles of Kenpo, force generation, suppleness, and
speed, then adding force multipliers, such as weapons, to increase its lethality in a life and death situation.
Ever present is the code he has lived by. Loyalty, Duty, Respect, Selfless Service, Honor, Integrity, and
Personal Courage.
“Training the sheep dogs to fend off the wolves, and protect the flock.”
Shawn Armstrong
Founder of Armstrong Kenpo Karate
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The Armstrong Motto
The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and
15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally
do not include a motto. Mottoes seldom form part of the grant of arms:
Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added
to or changed at will; many families have chosen not to display a motto.
Motto: Invictus maneo
Motto Translation: I remain unvanquished.
A clan is a social group made up of a number of distinct branch-families that actually descended from, or
accepted themselves as descendants of, a common ancestor. The word clan means simply children. The
idea of the clan as a community is necessarily based around this idea of heredity and is most often ruled
according to a patriarchal structure. For instance, the clan chief represented the hereditary "parent" of the
entire clan. The most prominent example of this form
of society is the Scottish Clan system...
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About Mr. Armstrong
Shawn R. Armstrong (born August 27, 1968) is an American author,

musician, martial artist, gunsmith, firearms instructor, paranormal
investigator, former professional wrestler, and retired soldier.
Armstrong was born in Ilion, NY.
Early life
Armstrong attended numerous schools, some he attended twice, as his father moved often to find work.
As a victim of bullying Armstrong began training from a family friend in Judo. He worked on the farms
his father worked on, side by side. Later, his father began driving tractor trailer logging literally millions
of miles, sometimes accompanied by his son.
Married Lorie Lawrence-Armstrong in June 24, 2002.
Career
Author
Author/Publisher · 2009 to present · Cortland, New York
Writers are involved in the creation and development of works of fiction and non-fiction.
This covers various forms of writing including:
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• poetry;
• short stories;
• novels;
• life writing;
• scripts for theatre;
• screen and radio;
• non-fiction;
• magazine and newspaper articles;
• web-content.
New media is also opening doors for writers in areas such as mobile phone content andcomputer game
scripts. Most writers work freelance and are self-employed. As income from writing may be low and
erratic, most writers supplement their income with other related activities such as author visits,
workshops, events and readings. Some writers may find avenues to diversify their writing and write in
different forms, such as published novelists also writing reviews and literary criticism. In addition many
writers manage their writing work alongside full or part time jobs which may be related to their writing
(such as lecturing on creative writing courses) or entirely unrelated.
Typical work activities Typical activities are likely to include some or all of the following:
• researching the market including reading relevant publications or blogs, and staying up to date with
writing that is being produced in your chosen field;
• selecting subject matter based on personal or public interest, or commissioned by a publisher or agent;
• undertaking background research including desk based research and conducting site visits or interviews;
• writing individual pieces, including using the technical skills of writing and being able to structure and
plan individual projects;
• editing, revising and reviewing work especially in response to feedback;
• working to tight deadlines, especially for theatre, screen and radio;
• submitting material for publication in the required and expected format;
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• networking with other writers, as well as others involved in the industry such as publishers, booksellers
and organisers of literary events;
• liaising with publishers, agents, script editors, producers and directors;
• finding, pursuing and maintaining knowledge of publication opportunities;
• marketing including maintaining an online presence through a website, blog or social media presence;
• talking about your work at events and conducting readings or book signings;
• teaching writing in further or higher education settings or running workshops privately;
• critiquing the work of other writers including sometimes providing mentoring or coaching services;
• managing the business side of writing including maintaining financial records, checking contracts and
submitting invoices and tax returns.
Career Definition Book publishers are responsible for overseeing the selection, production, marketing and
distribution processes involved with new works of writing. Although book publishers can work for one of
the many publishing firms throughout the country, there are several non-traditional avenues one can take
to become a book publisher; authors can now self-publish, and individuals with a knack for finding
marketable material can open up their own book publishing company. What's more, with the emergence
of the Web, e-books and websites are becoming popular book-publishing alternatives.
Music
Rhythm Guitarist/Vocalist · 1986 to present · Cortland, New York
Rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part
of the rhythmic pulse in conjunction with singers or other instruments; and to provide all or part of the
harmony, i.e. the chords, where a chord is a group of notes played together. Therefore, the basic
technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming
rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs,
chord solos, and complex strums. Singers read and interpret musical compositions and apply their voice
and style to create a song. Singers use one or more vocal ranges, such as alto, baritone, or bass in certain
music styles, including folk, rock, country, gospel, jazz, or rap. Those working as singers might find
employment as back-up performers for bands, commercial jingle singers, cruise ship singers, nightclub
entertainers, or even vocal teachers. Most singers are self-employed or freelance artists who work
contractually with recording labels, nightclubs, or concert tour venues. Singers work in recording studios
creating albums.
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Military
Staff sergeant (SSG) is E-6 rank in the U.S. Army, just above sergeant and below sergeant first class, and
is a non-commissioned officer. Staff sergeants are generally placed in charge of squads, but can also act
as platoon sergeants in the absence of a sergeant first class. In support units, staff sergeants ordinarily
hold headquarters positions because of the number of slots available for them in these units. Staff
sergeants are typically assigned as a squad leader or company operations non-commissioned officer in
charge at the company level, but may also hold other positions depending on the type of unit. Staff
sergeants are referred to as "Sergeant" except in certain training environments and schools. The NATO
code is OR-6. The rank of staff sergeant in the U.S. Army, along with technical sergeant (renamed
sergeant first class in 1948) and master sergeant, was created by Congress after the First World War. In
1920 the Army combined several company/battery/troop level "staff" NCO ranks, including color
sergeant, supply sergeant, radio sergeant, eleven grades of sergeant first class, three grades of sergeant,
two grades of master gunner, and assistant band leader into the new rank of staff sergeant. Staff sergeant,
as did the ranks it combined/replaced, then ranked above sergeant but below first sergeant. At that time,
sergeants served as section leaders, platoon guides, and assistants to platoon commanders (the position of
platoon sergeant, nor a separate rank for the position, did not yet exist), and included several formerly
separate ranks such as mess sergeant, company supply sergeant, and stable sergeant, etc. In 1940, staff
sergeant became the rank title of rifle platoon sergeants and in 1942 rifle squad leaders became staff
sergeants, with platoon sergeants then being promoted to technical sergeants.
U.S. Army Armor
M1 Tank Crewman · 1993 to 2005
Basic Job Description The M1 Armor Crewman works as part of a team to operate armored equipment
and fire weapons to destroy enemy positions. During combat, their role is to operate tanks and
amphibious assault vehicles to engage and destroy the enemy. Tanks like the M1A2 Abrams use mobility,
firepower and shock effect to close with and extinguish enemy forces. Duties performed by Soldiers in
this MOS include: Assists in target detection and identification. Places turret in operation. Determines
range to target. Prepares range and sketch cards. Operates main gun controls and firing controls. Adjusts
fires. Boresights, screen and zeros main gun. Fires main gun. Loads, fires, clears and applies immediate
action on machine guns. Operates tracked and wheeled vehicles over varied terrain and roadways in
combat formation and armor marches. Uses and responds to oral commands and visual signals. Maintains
orientation in moving vehicle by comparing terrain with maps. Selects tank routes. Positions vehicle in
firing position. Secures battle position. Secures, prepares, and stows ammunition aboard tank. Loads,
unloads, clears and performs misfire procedures on main gun. Exercises safety precautions in ammunition
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handling. Refuels vehicles. Prepares radio equipment for operation and enters net. Operates internal
communications equipment. Performs operator maintenance on turret, weapons, controls, and
communications equipment. Assists in performance of unit maintenance of turret components. Performs
preventative maintenance checks and services on tank chassis and automotive components before, during,
and after use.
Prepares DA Form 2404 and maintains vehicle equipment folder. Assists in performance of recovery
operations. Prepares tank for operations under various weather conditions and for night vision operations.
Assists in construction of fortification and barriers, including minefields. Breaches and clears minefields
and obstacles. Performs duties shown in preceding level of skill and supervises subordinate personnel in
performance of these duties. Assists tank commander in training tank crew. Prepares, files, and distributes
operations maps, situation maps, and overlays. Reads and interprets maps and aerial photographs.
Records information on maps and overlays. Indicates location, strength, tactical deployment, and
emplacement of friendly and enemy units. Marks vehicle routes on maps and overlays. Reproduces,
distributes, and files operations orders and plans. Inspects tank turret and automotive components for
malfunctions. Assists in the performance of unit maintenance of automotive components. Assists in
maintaining the gunnery proficiency of subordinate gunners and loaders. Supervises ammunition resupply
operations to include request, receipt, storage, inspection, and issue of ammunition with armor units.
Training Information Job training for a M1 armor crewman requires 15 weeks of One Station Unit
Training.
Part of this time is spent in the classroom and in the field under simulated combat. Some of the skills
you’ll learn are:
• Tank operations
• Armor offensive and defensive tactics
• Map reading and scouting techniques
• Field combat strategy .
U.S. Army Infantry
Section Leader/Platoon Sergeant, Heavy Weapons/Mechanized Infantry · September 3, 1987 to

September 30, 2010
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Overview The infantry is the main land combat force and backbone of the Army. They are responsible for
defending our country against any threat by land, as well as capturing, destroying and repelling enemy
ground forces.
Job Duties
• Perform as a member of a fire team during drills and combat
• Aid in the mobilization of vehicles, troops and weaponry
• Assist in reconnaissance missions
• Process prisoners of war and captured documents
• Use, maintain and store combat weapons (e.g., rifles, machine guns, antitank mines, etc.)
Requirements
Those who want to serve must first take the Armed Services Vocational Aptitude Battery, a series of tests
that helps you better understand your strengths and identify which Army jobs are best for you. Training
Job training for infantryman requires 14 weeks of One Station Unit Training, which includes Basic
Combat Training and Advanced Individual Training. Part of this time is spent in the classroom and part in
the field.
Awards
Afghanistan Campaign Medal w/Campaign Star
Army Commendation Medal (3rd Award)
Army Achievement Medal (5th Award)
Army Good Conduct Medal
Army Reserve Components Achievement Medal (6th Award)
National Defense Service Medal (2nd Award)
Global War on Terrorism Service Medal
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Humanitarian Service Medal
Iraq Campaign Medal w/ Campaign Star
Non Commissioned Officer Professional Development Ribbon
Army Service Ribbon
Overseas Service Ribbon
Armed Forces Reserve Medal w/ M Device (2nd Award)
NATO Medal
Combat Infantryman Badge
Driver and Mechanic Badge with Driver - Wheeled Vehicle(s) Clasp
German Armed Forces Badge - Gold
New York State Long and Faithful Service Medal (5th Award)
New York State Defense of Liberty Medal w/ WTC Device
New York State Medal for Merit
New York State Aid to Civil Authorities Medal
New York State Exercise Support Ribbon
Humane Service to New York State Medal
US Army Retired
Retired · September 3, 1987 to September 3, 2010
Martial Arts
Armstrong Kenpo Karate Academy
Owner/Instructor · 1980 to 2009 · Cortland, New York
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Requirements The specific requirements for martial arts instructors depend on the school. In most cases,
instructors must hold a black belt in their art before becoming a full instructor. They must be able to
correctly demonstrate the techniques and teach them to candidates in a safe way. In addition, instructors
must know the history, traditions and values of the martial art so that they can pass these on to their
candidates. In some cases, advanced candidates who are not black belts can begin assisting the head
instructor and teaching beginner candidates. Instructors must also communicate clearly and be
comfortable and confident teaching large groups. Ideally, they will know basic first aid to handle injuries
that might occur in class. Duties and Responsibilities Martial arts instructors must plan classes and tailor
them to the skill level of the candidates. Classes might include teaching new techniques, practicing strikes
on pads or heavy bags, sparring, meditation, stretching, conditioning and discussing the history or
philosophy of the art. Instructors should be available before and after class to speak with candidates,
answer questions and make sure candidates are on track to reach their goals. Instructors also administer
exams for candidates to advance to the next belt level. Instructors will often travel to competitions to
coach candidates. In many schools, instructors also handle administrative duties such as calling and
enrolling prospective candidates, monthly billing, and maintaining inventory of uniforms, belts and other
training equipment and gear. Related Reading: How to Discuss Your Job Description With Your Boss
Working Conditions Martial arts instructors typically work in a martial arts studio or dojo. Some classes
are run in community centers or gymnasiums. They usually work in the afternoon or evening, although
some schools also offer morning or lunch time classes.
They also often teach classes or attend competitions on the weekends. In addition to time spent teaching,
instructors must devote time to their own training.
Certification
Certification requirements vary by martial arts school. Some schools do not require certification beyond
belt rank and ability. Many schools have their own certification program or instructors course. Others
may require a national certification from an organization such as the American Martial Arts Certified
Professionals. Certification programs usually include training in teaching techniques, philosophy and
tradition, first aid, conditioning, and stretching techniques.
Dragon Kenpo
Introduction
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The art of Dragon Kenpo is a method of empty hand and foot fighting based on the scientific use of the
body in self-defense. The instruction in Dragon Kenpo is designed to provide you with the ability to
coordinate your mind, body and spirit into an efficient weapon. Moreover, you will find that Dragon
Kenpo stresses development of individual character, integrity, and respect for others. As individuals
advance in the art they realize that Kenpo is a way of life. They gain a new way of thinking and acting
which can guide them in all areas of life so that you will be happier, healthier, and wiser. The methods
and techniques of Dragon Kenpo are only a guide to illustrate various principles and scenarios; only real
practice and the experience you gain will teach you how to use your hands and feet in such a manner that
you will be able to defend yourself from an armed or unarmed opponent. Hard work is always the key to
success.
The Dragon Kenpo Creed
The classical martial arts present themselves as rivals. One a "hard" style, the other "soft". This one
emphasizing kicks, that one specializing in punches, the other takes each opponent to the ground and
wrestles. Yet the underlying premise is the same for each, in that a narrow system is presented as not only
superior but holy. Laws are laid down, rituals are set in stone and rigid patterns are put in place. A shrine
to the fixed knowledge is created, complete with ceremonies, rites and masters. None may transcend, or
even question the institution's unbending view of reality because of its sacredness.
The Dragon Kenpo way, however, is the way of never ending learning and discovery. The techniques
taught are guides that develop greater skill, not boundaries that no one may cross. Greatness, after all, is
not achieved by thinking within limits prescribed by convention. Greatness required engaging the
unknown. It is there, in the mystery, that new discoveries are found. The traditional arts are in the
business of setting limitations. Their primary task is the creation of an imposed order and the production
of conformity. Yet to adopt that order is to close out everything not included within it. By banishing the
unknown the traditional martial artist advance by learning more and more about less and less. To the
"Masters" of the traditional styles, an unlimited mind is a dangerous thing. A lot of folks have a lot
invested in the status quo. Those who choose growth and expansion should not be surprised to find
resistance from those devoted to tradition. Choosing to cross boundaries, or even erase them, means
coming into conflict with the imposed order.
There are no rules in total combat, so the Dragon Kenpo way is the path of free expression. The methods
taught begin the process of endless discovery. We have only two choices are martial artists and as human
beings: To be ordinary or to be explorers; to be followers or leaders. Regardless of who approves.
History of Dragon Kenpo
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Dragon Kenpo was organized by Ed Hutchison and has been continued and evolved by various
practitioners today and there are several offshoot styles that owe their roots and lineage to Dragon Kenpo.
To understand Dragon Kenpo we need to look at the roots of its origin and where it comes from. Kenpo
legends trace its origins to the Shaolin Temple, in my opinion this is most likely southern shaolin, or
perhaps styles from the Guangdong and Fukien provinces in China, as many elements of these styles can
be seen reflected in Kenpo. Styles from these areas include what is generally termed Hakka Kuen, and
styles like White Eyebrow, Dragon, Southern Mantis, even styles like Choy Lee Fut, Mok Gar, Chow Gar
and a host of others share similar elements to Kenpo. Many of these Chinese styles claim origin in the 5
elders of Shaolin, many bear relation to the 5 families Hung, Lau, Choi, Lee, Mok, and many of these also
contain the 5 animal styles tiger, crane, snake, leopard, and dragon.
Chinese boxing from Shaolin and styles from other regions made its way from China to Okinawa and
Japan, and eventually to the United States. In Hawaii a man named James Mitose taught Kosho Ryu
Kempo, one of his candidates was a man named William Kwai Sun Chow, Chow learned his family art of
kung fu before becoming a candidate of Mitose. William Kwai Sun Chow blended the Kosho Ryu Kempo
of Mitose with his family style of kung fu, eventually calling his system Kara-Ho Kempo. Notable
candidates of William K.S. Chow were Adriano Emperado, one of the founders of Kajukenbo, and Ed
Parker the founder of American Kenpo. Ed Parker's Kenpo has many variations from his candidates who
have put their own imprint onto Kenpo, such as Al Tracy and Jay T. Will. Ed Hutchison learned Kenpo
from Jay T. Will who studied under both Ed Parker and Al Tracy. Dragon Kenpo as organized by Ed
Hutchison has continued by various candidates and within several offshoot systems as a streamlined self
defense art that naturally incorporates aspects of Kenpo but also includes elements of other martial arts
such as Jeet Kune Do, Kali, and Thai Boxing that fit the simple, direct, and efficient street fighting goal.
Founded Armstrong Kenpo Karate - 2018
After training under Ed Hutchison, in 2018 Shawn Armstrong, a 3rd Degree black belt in Dragon Kenpo
analyzed the evolving threats faced by today’s martial artists. Mass shootings, stabbings, and decided it
was time to update the Dragon Kenpo system to address these threats. Using his training in Kenpo,
Taekwondo, Hapkido, and military hand to hand combat training, he expanded the system to be more
modern in its approach to deal with these threats. Hence, Armstrong Kenpo was born. Through the use
of weapons, such as knives, and improvised weapons, such as books, pens, pretty much everyday items,
to make the system ever expanding. Using the principles of Kenpo, force generation, suppleness, and
speed, then adding force multipliers, such as weapons, to increase its lethality in a life and death situation.
Ever present is the code he has lived by. Loyalty, Duty, Respect, Selfless Service, Honor, Integrity, and
Personal Courage.
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“Training the sheep dogs to fend off the wolves, and protect the flock.”
Shawn Armstrong
Founder of Armstrong Kenpo Karate
Belts Earned
Armstrong Kenpo Karate - Eighth Degree Black Belt/Founder
Dragon Kenpo Karate - Third Degree Black Belt
Sun Chong Taekwondo - Yellow Belt
Jun Fan Gung Fu/Jeet Kune Do - White Sash
Koei Kan Karate Do - Green Belt
Judo - Brown Belt
Awards
Bronze Medal Koei Kan Karate Do Tai Kai 2014
Professional Wrestler
Trained by Horace White
East Coast Professional Wrestling
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Wrestling Name: The Perfect Weapon Shawn Armstrong
Professional wrestling (colloquially abbreviated to pro wrestling or wrestling) is an athletic form of

entertainment based on a portrayal of a combat sport. Taking the form of live events held by touring
promotions, it portrays a unique style of combat based on a combination of adopted styles, which include
classical wrestling, catch wrestling and various forms of martial arts, as well as an innovative style based
on grappling (holds/throws), striking, and aerialism. Various forms of weaponry are sometimes used.
The content including match outcomes is choreographed and the combative actions and reactions are
executed in special manners designed to both protect from, yet simulate, pain. These facts were once kept
highly secret, but they are now openly declared as the truth. By and large, the true nature of the content is
ignored by the performing promotion in official media in order to sustain and promote the willing
suspension of disbelief for the audience by maintaining an aura of verisimilitude. Fan communications by
individual wrestlers and promotions through outside media (i.e., interviews) will often directly
acknowledge the fictional nature of the spectacle.
Although the combative content is staged and communicated between the wrestlers, there are legitimate
physical hazards resulting in serious injury and death in limited cases, due to the realism and contact
involved in the performance.
Paranormal Investigator
2012 to 2014
Scientific Paranormal
Ghost hunting is the process of investigating locations that are reported to be haunted by ghosts.
Typically, a ghost hunting team will attempt to collect evidence that they see as supportive of paranormal
activity. Ghost hunters often use a variety of electronic devices: the EMF meter; digital thermometer;
handheld and static digital video cameras, such as thermographic (or infrared) and night vision; digital
audio recorder; and computer. Traditional techniques such as conducting interviews and researching the
history of a site are also employed. Some ghost hunters refer to themselves as a paranormal investigator.
Ghost hunting has been criticized for its absence of scientific method; no scientific body has been able to
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confirm the existence of ghosts. Ghost hunting is considered a pseudoscience by a majority of educators,
academics, science writers, and sceptics.
EDUCATION
Cortland Junior - Senior High School
Class of 1987 · Cortland, New York
Tompkins Cortland Community College
Class of 2000 · Criminal Justice · Dryden, New York
1303/1304 Center for Homeland Defense and Security
The Global Jihadi Threat
Hillsdale College Online Courses
Class of 2015 · Economics · Hillsdale, Michigan
Economics 101 Principles of Free Market Economics
Class of 2015 · Hillsdale, Michigan
The Presidency and the Constitution
The Progressive Rejection of the Founding and the Rise of Bureaucratic Despotism
Meaning and History of the Constitution
FEMA Emergency Management Institute
January 13, 2012
Introduction to Incident Command System
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January 13, 2012
Active Shooter: What You Can Do
January 13, 2012
Basic Instructional Skills
January 13, 2012
Basic Workplace Security Awareness
January 12, 2012
Military Resources in Emergency Management
September 4, 2012
Fundamentals of Risk Management
October 19, 2012
A Citizens Guide to to Disaster Assistance
October 19,2012
Animals in Disasters: Awareness and Preparedness
February 11, 2013
Surveillance Awareness: What You Can Do
February 11, 2013
Radiological Emergency Management
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February 11, 2013
Retail Security Awareness Understanding the Hidden Hazards
October 16, 2014
Introduction to Homeland Security Planning
PSU/ETI
Class of 2011 · Private Investigation · Cortland, New York
1) Perform undercover operations such as evaluating the performance and honesty of employees by
posing as customers or employees.
2) Question persons to obtain evidence for cases of divorce, child custody, or missing persons, or
information about individuals' character or financial status.
3) Search computer databases, credit reports, public records, tax and legal filings, and other resources in
order to locate persons or to compile information for investigations.
4) Write reports and case summaries to document investigations.
5) Alert appropriate personnel to suspects' locations.
6) Count cash, and review transactions, sales checks, and register tapes in order to verify amounts and to
identify shortages.
PSU/ETI
Master Firearms Instructor Certificate · Cortland, New York
General Description / Purpose
• Ensure range is operating in accordance with company policies during all business hours
• Ensure range safety for all customers, employees, and visitors
• Assist customers with basic firearm handling techniques
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• Maintain cleanliness and organization of shooting range
• Assist customers with range check in including selling ammunition, renting firearms, assigning lanes,
and processing cash register transactions Work Schedule
PSU/ETI
Executive Protection Specialist Instructor Certificate · Cortland, New York
Bodyguards, also known as close protection officers, are professionals who protect people from loss of
confidential information, and physical threats like assassination, assault, harassment, kidnapping, and
stalking. These highly trained security personnel are generally employed by high profile public figures
like politicians, movie stars, professional athletes, and other celebrities. The primary responsibility of
bodyguards is assessing security threats and providing the necessary security measures. However,
contrary to popular belief, the role of a bodyguard can be very complex. For instance, bodyguards
employed by multi-agent units may have to perform varied tasks like communication protection, analysis
and assessment of risk, threat, and vulnerability, detection of chemicals and explosives, operation of
different security measures, as well as mob screening and control.
They may also be required to search areas for possible threats, and prepare travel routes. Education and
Training Requirements Persons wishing to become bodyguards need to have at least a high school
education. A military background or knowledge of law enforcement procedures is preferable. Prior to
becoming a professional bodyguard, candidates must undergo rigorous training. These programs teach
candidates about first aid, armed and unarmed combat techniques, as well as firearms tactics. Some
courses also focus on martial arts training. There are a number of colleges and universities in the United
States that offer courses in this field.
PSU/ETI
Combat Shooting Instructor · Cortland, New York
1) Instructs personnel in rifle, pistol, and shotgun marksmanship: Explains and demonstrates weapon
safety, firing positions, sight picture, and alignment, breath and trigger control, and other specified
fundamentals and techniques of marksmanship: Instructs personnel in nomenclature, weapon
disassembly, weapon operation, weapon stoppages, and immediate corrective action for small arms
weapons.
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2) Explains range safety regulations.
3) Inspects small arms weapons to ensure that weapons are clean, properly lubricated, and in designated
operating condition.
4) Observes personnel during firing to ensure that safety procedures are followed.
5) Offers corrective advice to personnel to improve marksmanship and to aid in correcting weapon
malfunctions.
6) Scores field firing results to include target detection, range estimation, firing positions, and other
marksmanship principles.
PSU/ETI
Class of 2010 · Certified Gunsmith · Cortland, New York
The responsibility of a gunsmith is to ensure that the firearms they work on function safely. During
inspection, gunsmiths use their in-depth knowledge to determine if there are any unsafe mechanical
problems with a firearm. They either repair or adjust a firearm to make sure that it is safe to use/shoot.
The following are just a few of the problems that might be encountered by a gunsmith:
Firearm is improperly assembled Malfunctioning safety mechanism Obstructed, dented or bent barrels
Parts missing Location of the chamber and bolt outside of specified tolerances Deformed firing-pins
Some parts are cracked Timing is inaccurate Sear edges are worn Since there are a wide variety of
firearms, many gunsmiths specialize in certain aspects of the profession. Some specialize only in
shotguns, pistols or certain brands and models. Some specialties are listed below: Custom designer and/or
builder: Builds firearms from scratch using raw materials and custom specifications.
Finisher: Applies special finishes for color, to prevent corrosion, and more.
Stockmaker: Carves and finishes stocks from many types of wood and fits the metal parts of the firearm
in accordance to the required body dimensions.
Checker: This skill is frequently combined with that of a stockmaker by using checkering tools to
decorate the stock of a firearm. Gun engraver: Cuts simple/elegant designs or pictures into various parts
of the metal surface of a gun.
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Pistolsmith: Works primarily on pistols and revolvers.
Manufacturer: Works as a small manufacturer of firearms, usually specializing in only a small selection of
firearms.
The following are only a few things that a general gunsmith can accomplish: Repair ejecting & firing
problems Inspect, disassemble, clean, oil and reassemble Repair damaged parts Repair barrels on dented
shotguns or install new ones Re-blue metal parts Change the caliber of an existing barrel Refinish or
repair wooden stocks Building a custom designed firearm starting with blank steel, wood, and gunsmith
tools. To become a gunsmith, it requires the knowledge of many trades. Basic mechanical knowledge,
metalworking skills, engraving and wood-working knowledge are necessary. Metalworking skills help
when forging iron and steel into a gun barrel. When pieces of the firearm are put together, basic
mechanical knowledge is necessary. Wood-working skills are helpful when making a stock out of maple,
cherry or walnut and fitting the metal parts into place. Decorative engraving is usually the final work done
on the metal part of a gun. The ability to produce precise and accurate work is absolutely necessary to
become a successful gunsmith.
Military Schools
U.S. Army
Class of 2010 · Basic Non-Commissioned Officers Course Phase II - Infantry
U.S. Army
Class of 2010 · Basic Non-Commissioned Officers Course Phase 1
U.S. Army
Class of 2002 · Primary Leadership Development Course
U.S. Army
Class of 1993 · US Army Armor School
U.S. Army
Class of 1988 - US Army Infantry School
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BUSHIDO
THE WAY OF THE WARRIOR
7 CODES OF CONDUCT FOR EVERY WARRIOR
1. HONESTY – GI ギ
Be acutely honest throughout your dealings with all people. Believe in justice, not from other people, but
from yourself. To the true warrior, there are no shades of gray in the question of honesty and justice.
There is only right and wrong.
2. POLITE COURTESY – REI レイ
A warrior has no reason to be cruel. They do not need to prove their strength. A warrior is courteous
even to his enemies. Without this outward show of respect, we are nothing more than animals.
3. HEROIC COURAGE – YU ゆう
Rise up above the masses of people who are afraid to act. Hiding like a turtle in a shell is not living at all.
A warrior must have heroic courage. It is absolutely risky. It is dangerous. It is living life completely,
fully, and wonderfully. Heroic courage is not blind it is intelligent and strong.
4. HONOR – MEIYO 明代
A true warrior has only one judge of honor, and this is himself. Decisions you make and how these
decisions are carried out are a reflection of whom you truly are. You cannot hide from yourself.
5. COMPASSION – JIN ジン
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Through intense training the warrior becomes quick and strong. He is not as other men. He develops a
power that must be used for the good of all. He has compassion. He helps his fellow man at every
opportunity. If an opportunity does not arise, he goes out of his way to find one.
6. COMPLETE SINCERITY – MAKOTO マコト
When a warrior has said he will perform an action, it is as good as done. Nothing will stop him from
completing what he has said he will do. He does not have to “give his word.” He does not have to
“promise.”
7. DUTY AND LOYALTY – CHU チュー
For the warrior, having done some “thing” or said some “thing,” he knows he owns that “thing.” He is
responsible for it, and the consequences that follow. A warrior is immensely loyal to those in his care; to
those he is responsible for he remains fiercely true.
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Values of the Modern Warrior
Loyalty
Duty
Respect
Selfless Service
Honor
Integrity
Personal Courage
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Armstrong Kenpo Structure and Training
One aspect that sets Armstrong Kenpo apart from the Kenpo systems that are its roots is the lack of forms,
common solo forms like those found in American Kenpo for example, have been removed from
Armstrong Kenpo practice. Although, the study of these older forms can be beneficial to the Armstrong
Kenpo practitioner. In Dragon Kenpo as organized by Ed Hutcinson, while not having forms, there were a
series of standardized techniques presenting possible solutions to common street attacks like sucker
punches, grabs, chokes, punches and kicks. These techniques were spread out through a system of colored
belt ranking and several degrees of black belt. While these techniques were standardized to allow for
some sort of grading structure and measuring of a candidates progress, these techniques ware not viewed
as a final product but rather as a point of departure for the practitioners own self-study and exploration
(refer to the Dragon Kenpo Creed). While choreographed forms like those found in other Kenpo styles are
not found within Armstrong Kenpo, many practitioners do string together techniques for practice in a
freestyle shadowboxing manner and therefore the same benefits of forms practice can be gained without
the practitioner being confined by the limitations of a set pattern. Many practitioners of Armstrong
Kenpo today and those systems derived from it have incorporated the weapons methods and energy
training drills from the Filipino martial art of Kali (arnis, escrima, silat, kuntao also) as well as ground
grappling skills, elements of Jun Fan kickboxing and Jeet Kune Do, Thai Boxing and other combative
arts. Armstrong Kenpo practitioners prefer hard, realistic fighting over the sport oriented forms of
sparring, living by a motto of "if you want to fight hard, you'd better train fighting hard". Armstrong
Kenpo as it stands today is a unique expression of a martial art customized by each individual
practitioner. While Armstrong Kenpo respects its lineage and pays tribute to the arts upon which is it
founded, it maintains its independent stance as a unique system of martial arts.
Commands in the school
We don’t have that many, but they all serve a purpose.
Attention – it’s used when an instructor enters the dojo, more or less so he can see who’s there, and it’s a
good judge of the motivation of the candidates that day. I hate the word candidate. You’re not a
candidate. You’re a candidate, who’s applied to join a very small organization. It’s used at the start of
class, to let everyone know, we’re about to start, time to get serious. It can be used if the class gets out of
hand, and discipline needs to be reestablished.
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How to call the class to attention:
“Class” – this is the preparatory command, this is letting the class knows that something is to follow.
“Attention” – this is the command of execution.
How to execute the position of attention:
Bring the heels together.
Toes at a 45-degree angle
Bring the arms out, and sharply slap the thigh
NOTE: In the dojo, this should be done so the entire class moves like lightning, and sounds like thunder.
“At ease” is an instructional position. There is no preparatory command. It’s simply “at ease”. When the
instructor gives this command, all heads turn to the instructor, mouths shut, and ears open.
How to execute the position of “at ease”:
Feet shoulder width apart
Hands behind your back, thumbs interlocked at the small of the back
Eyes on the instructor
NOTE: this can also be used, if the dojo gets too loud, and distracting.
“As you were” is a command used when an instructor was giving instruction, but is finished. He will say
“as you were” which simply means go back to what you were doing. There is no preparatory command.
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“Bow”, simple, just bow.
When to bow:
Entering the school, it shows respect to a place of learning.
When you approach an instructor with a question, and then go to “at ease.”
The beginning of class.
Legal Aspects of Self-Defense
If you kill or injure someone, you could lose everything and end up in prison, regardless of how justified
you felt! Even if you were totally in the „right” and killed an armed intruder in your own bedroom, the
family of your “victim” can sue you, costing you hundreds of thousands of dollars or more in legal fees
just to defend you. You likely will be arrested no matter what, even if you do get out of it later, end up
paying thousands, maybe hundreds of thousands in legal fees.
Simple rule: never talk to the police, never say a single word, they may try and get you to make small
talk.... don’t, if you are involved in a self-defense situation. Politely say: “I intend to fully cooperate as
soon as I can speak to my attorney” and say nothing more. The police have only one job: to get as much
on you as possible. You are a suspect and no matter how justified you seem even to them, they are not
there to help you in a self-defense situation.
In many states, you have to get away first if you can safely. Get away if you can in any situation.
NEVER, EVER, MENTION YOU'RE A MARTIAL ARTIST!!! This is directly from an attorney.
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No state has a Good Samaritan law when it comes to the use of deadly force. If you see a robbery going
down, depend on the police. If you jump in, you could be killed, kill a bystander, be mistaken by the cops
for a perp, and be sued and prosecuted! It is not your job to stop crime unless you yourself or your family
are in imminent danger of serious injury or death. There is no justification in any state for killing an
unarmed person out of anger, road rage, disagreements, and it could be murder. If you kill a bystander,
even by mistake, it will likely be manslaughter even if there was no negligence. Pulling a weapon i.e.
knife/gun can get you convicted of brandishing or assault! You are never justified in killing someone to
protect property, only imminent danger to life or limb.
When in doubt ask your attorney!
Good Samaritan Law – Grants immunity if you help another.
Negotiation
Step one of any successful negotiation is always research. Know yourself, know your advocate, know
your opponent, know the system, setting, options and environment! If you are over the age of 1, you are a
professional negotiator. In this fast paced, information based society, everyone learns very quickly that
there are great negotiators, and there is the starving. That's right, to succeed in any aspect of life,
including successfully getting through a single day; you have to learn deep negotiation skills! So relax,
you are 90% of the way to where you need to go due to the tough problems you've solved and the
hardballs and curve balls life already has thrown your way. Every moment of your life prepares you for
successful negotiation. Every time you engage socially, you actually are honing your negotiation tools
and skills.
Every time you shop, decide what to wear, discuss making love with your partner, talk on your cell,
attend a meeting, get stopped by a cop, talk to your kids or grandkids... open your mouth or listen... there
is a subtle undercurrent of negotiation going on. That's why you are so good at it! Every success you've
had shows your strengths as a negotiator, and every failure shows an area you need to improve. If you're
over 25, and have survived in a relentlessly cruel capitalistic society, you're a negotiation genius! Now,
you might say: "but guys, I'm drunk all the time, on 20 pills, a nervous wreck, broke, angry, depressed,
divorced, overweight and unhappy". We will counter: negotiation is stressful and causes anxiety. Anxiety
destroys confidence.
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The more you hone your anxiety control and negotiation confidence skills, the less anxious you are, and
the more confident you feel. Remember the section on attitude? Attitude is the key to joyful, relaxed,
focused, winning negotiation! Every one of your problems, even if you think you're a wreck, is just the
very tiny loose ends of negotiations that were 99% successful. If you think about what it takes to survive
25 years in this insane society, you will have to admit that you do have a lot of skills you are not
acknowledging, because whether we are rich or poor, nice or nasty, no one survives in this society, which
is completely dependent on communication and interaction with other humans, without sharply honed
negotiation skills, period.
Yes, some are better than others, and yes, they can be improved, learned and perfected like any other
skill. You just have to study the process, and see what you've been doing naturally for many years. The
joyful successes help a little, and the painful failures help a lot to see the secret outlines beneath the water.
A ship captain "negotiates" a perilous channel with focus, patience and skill, and knowing what is subtly
beneath what is obvious on the surface. This is as good a definition of negotiation as any: getting through
a maze to your goal, by understanding what's going on under the water both in the process and in your
advocate's and opponent's moves.
If you read 100 negotiation books, they will all talk about opening, information gathering, floating
proposals, and finding keys, countering, and closing. Yes, those are the general guidelines, but more
importantly, if you come to the table with an open mind, lots of facts, understanding of where the other
party and your advocate(s) are coming from, confidence, humor, an agreeable outlook, focus, ethics and
determination-- you will telegraph a kind of honor, trustworthiness, calm and confidence that reduces the
anxiety of the other parties. Yes, that is right: the others also have anxiety about the process, even if you
think they hold all the good cards! Every negotiation has leverage, carrots, sticks, and people who want
to feel important and respected. If you are genuinely agreeable, calm and confident, you disarm them, and
work with leverage in a kind and classy way.
There is another humorous saying that goes: "When a person with money meets a person with experience,
the person with the experience gets the money, and the person with money gets the experience." As you
hone your negotiation skills, through life, and through looking at what was happening beneath the surface,
you will succeed and win every time while teaching your opponent lessons, making sure they walk away
with a win too, and making the process enjoyable and fun.
Look at it this way: everyone has a point of indifference. This is the balance of a deal where no one wins
and no one loses. Below that point, doing the deal does more harm than good. Above that deal, doing the
deal does more good than harm. Your party HAS to feel that getting this deal done is better than no deal,
or-- no deal. Now, apply that logic to a "verbal self defense" situation! The thug would rather win, and if
you know your own leverage, in a few short words ("Get out of here, I'm armed") you can set the tone.
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Short, loud sentences will get "through" his adrenaline cloud. If he's obviously on crack and logic will
NEVER work, shoot him, taser him, or get away!
Shouting commands and warnings even as you shoot looks good to the jury, because bystanders will say
you tried to talk him down, out or away! Remember the point of indifference. If you're clear that you will
cut him into 20 pieces and have him for lunch, he might seek easier prey. Shouting "I'm a cop" works in a
lot of cases, as you put your hand on your gun instead of your badge, even if you're not a cop. If you can
only remember one thing, remember that your mental trigger and your readiness need to be set. If he
makes this move, then I shoot, else I go to step B. Or if he steps back, then I back off slowly at high
ready, until X amount of space is between us. Everything in physics comes down to space and time. You
need space to react and time to beat him to the first strike. IF you are in verbal self defense mode (the
most important command of which is: Do not come any closer and keep your hands where I can see
them), remember to do two things, get your hand on your gun's grip in your pocket ready to draw (or if
you predicted the scene, you will already have it in your palm or behind a box or bag) as you talk. Be
ready for stage 2 if you have to move there quickly, with your mind set like a grenade ready to let go!
This mindset will be clear to your attacker through your eyes.
You also will have evaluated shoot- don't shoot VS. Hand to hand, non lethal taser, restraint moves
instead of disabling or killing, etc. and be ready to execute the trained sequence in your mind of combat,
non lethal hand to hand restraint, lethal combat, taser or pepper, etc.
Bio
How the Body Works
Physiology literally means "function" or how the body does what it does. We will just call it Bio for short.
Bio involves the shape you're in, your age, experience, eyesight, hand/eye control, muscle memory, brain
function, breathing, and much more. In combat, the adrenaline effect raises the heart rate, and above a
certain level, your hearing shuts down, higher logic functions shut down, your vision narrows, and your
body prepares you for fighting, running and possible injury.
During the Fight
In a life threatening situation, the intended victim's "fight or flight" reflex manifests itself. This reflex,
honed by millennia of adaptive human survival behavior, results in increased heart rate and cardiac
output, higher blood pressure, accelerated respiration, greater carbohydrate metabolism, and virtually
instantaneous supercharging of the body.
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This stimulation is attributable to the adrenal glands above the kidneys which produce steroidal
hormones, and the hormones and neurotransmitters epinephrine (adrenaline) and nor epinephrine,
responsible for constricting blood vessels and dilating bronchi in the lungs.
The stress, rage, and fear which overwhelm the intended victim thus create a bodily alarm reaction which
expresses itself as a period of greater strength and faster speed, accompanied by near impervious reaction
to pain. At the same time, fine motor skills grossly deteriorate, dexterity noticeably decreases, and the
hands, arms and legs may tremble. The intended victim will also likely experience an altered state of
perception as well. One, indeed, is not calm, cool and collected.
The perception of time may become distorted. With the body alarm reaction, the mind processes stimuli at
a fantastically accelerated rate when compared to normal.
The result may be the perception that activities are occurring in slow motion, even though movements of
the event may actually be extremely fast. The reverse may also occur: the event may seem to transpire
faster than one would expect.
In it’s in incredibly heightened state of awareness, the mind of the intended victim tends to focus with
tunnel vision on the identified threat. This results in the exclusion of normal peripheral vision. Knowledge
of this potential visual reaction to an attack is valuable in the event one is ever faced with multiple
assailants.
The perception of hearing, like vision, may also be drastically affected during a life threatening encounter.
The mind screens out everything that is extraneous to immediate survival, resulting in auditory exclusion.
The distorted perception of hearing may mute shouts, sirens and screams. You may not even hear your
own gun fire. This sensory response was employed with considerable dramatic effect by Steven Spielberg
in his motion picture "Saving Private Ryan".
The "fight or flight" reflex allows the mind to draw upon memory resources that are not normally used.
The intended victim may experience a sense of precognition, an anticipation response to a subconsciously
perceived sequence of circumstances. You "see it coming"; even though to the casual observer no violent
threat as yet exists.
Be prepared to experience a denial response to a life or death situation. One tends to seek mental and
emotional shelter in normalcy. When this state of mind is horrifically shattered, the intended victim's
reaction may be "this can't be happening".
One may experience "hysterical blindness" during or after an attack. Essentially, the mind refuses to
visualize any longer a terrifying event perceived by the eyes. This may translate into fleeing the scene of
an attack, even if one successfully, and legally, used lethal force to survive the incident. Needless to say,
law enforcement officials will take a dim view of this evasion.
In a highly trained person who has practiced to a degree that the body's reaction to a stimulus is
automatic, the "fight or flight" reflex may create the illusion of "watching one's self ". The body
movement is so fast, without the guidance of deliberate thought that one's conscious mind can't keep up.
The highest manifestation of the phenomenon of observing oneself occurs as an "out of body" experience.
Due to trauma, the mind's survival instinct drives all senses into a state of profound and unparalleled
perception. From sounds and recalled sights, the mind is able to generate three dimensional images.
The out of body experience is often combined with a "celestial death". During this state, one sees a
brilliant, bright tunnel or vortex of intense white light. One may also spiritually encounter loved ones who
have passed on. The celestial death may be experienced by those who are clinically dead, who
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miraculously recover, as well as by those victims of an attack who believe them to be mortally wounded,
near imminent death.
After a life threatening encounter, the intended victim may occasionally revert to a state similar to that of
sleep walking, seeming to be in a zombie-like trance.
Confusion is a state of mind commonly experienced by an intended victim who has survived a life or
death encounter. Manifestations include remembering events out of sequence, exaggerating the
importance of trivial incidents, and forgetting important events due to short term memory loss.
The ramifications of the foregoing physical-psychological aspects of encountering, enduring, and evading
a life threatening violent attack is obvious: recognize in yourself how your body and mind may react, and
prepare yourself accordingly to the extent possible. Mental preparedness is one aspect of self defense.
Likewise, it is apparent that an intended victim who has survived a violent encounter is not going to be in
the best frame of mind to immediately recount details of the incident to law enforcement authorities.
Physically, the adrenalin rush which supercharged the body has given way to a precipitous decline in
energy, and the intended victim is likely exhausted and confused. For these reasons, it is not a good idea
to give legal statements regarding an attack right away, especially if the attack was terminated by the
justifiable use of deadly force on your part. Rather, politely advise the police officers that you understand
your rights. Then get some rest, collect your thoughts, and consult with an attorney.
Verbal Force Techniques
NOTE: This block of instruction contains language some candidates may find offensive.
This section was adapted from my executive protection course. This latest edition of The Non Lethal
Guide, as this manual has come to be fondly known over the past 30 years, is completely up to date for
the new terrorism decades of the 2010s and the 2020s. It includes among many others, the latest Green/
Yellow/ Red state techniques of Cooper, the gip techniques of Siebert, the restraint and defusing
techniques of Halstead and Moriera, and the principal protection strategies of Mack. It is surprising,
however, at how many things are still the same as they were in 1971. If Jack were still alive today, I think
he would be shocked to find out how many police officers still shoot suspects with small knives, saps, on
golf carts or bicycles, etc. including women and youth with the misfortune of threatening a peace officer.
Because of this, the subtitle (Avoiding Overdependence on Guns - - Saving Lives) is even more
appropriate today than ever before. Because many of our new recruits in the bodyguard and executive
protection fields come from the ranks of the military and police, we have to be more vigilant than ever in
"training out" the habit of going for the gun at the slightest indication of trouble, and "training in" the
counterintuitive forms of loud verbal force.
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Although many of my executive protection training modules do relate to firearm instruction, from sniper
to armor piercing weapons to exotic poisons and other technologies, this manual has always been the
cornerstone of stepping back and taking a more reasoned approach by defusing a deadly force situation
with various levels of force along the negotiation continuum, from body language, gestures and
appearance, to the extremes of VFT. Once you take off the badge or military uniform, you step into a new
set of standards. The press is filled with stories of bodyguards who "beat up" or "shot" an assailant who
was closing the space on a rock star or other known principal. Peace officers are legally permitted to use
lethal force and draw their guns in many situations (whether we agree with them or not), whereas
bodyguards simply must use aggressive verbal force, restraint or other techniques in MANY situations.
Law enforcement officers, both those investigating bodyguard interventions, and those transitioning to
bodyguard work, often have a hard time understanding both aggressive verbal techniques used to focus
adrenalin response commands, and how effective non lethal force can be in many ways, as an alternative
to drawing your gun or using lethal force yourself. Because of this, there have even been court cases
where a bodyguard used severe verbal commands to stop a lethal attack, yet police mistook the format of
the command for a threat, often not understanding that the agent was using an alternative to lethal force!
In the sterile atmosphere of the courtroom, restraining or stopping verbal force techniques, with the
necessity of dominance, strong or foul language, consequences statements that are purposely overstated,
etc. can come off as frightening or intimidating, which of course is their very purpose in stopping the
lethal attack. We have to add back the context that the purpose of these methods is to SAVE LIVES, both
of our principal and the assailant! We really hate to bring this delicate subject up; because many of our
candidates and members are extraordinarily brave current or former police officers, but could it be that it
is just easier to shoot a suspect today?
Could it be that today's politically correct world would better understand a police officer shooting a
suspect than using techniques that, to the untrained eye, seem domineering, threatening or extremely
hostile verbally? In Jack's era, there were even racial slurs used in the techniques, which of course are
considered inappropriate today, however they were extremely effective in saving the very lives of the
supposed "victims" of the slurs they purported to harm! It is interesting to note that in the UK, where far
fewer police wear guns, there are many more incidences of "verbal police brutality" filed. Wonder why?
Thankfully, most prosecutors in Britain understand the technique and its humane results. Here in the US,
however, we're still in an active campaign to educate court officers about all types of non lethal
techniques, including knife defense short of shooting. If this political correctness slows our response time
or autonomic reactions, say, in freezing a suspect of Arab descent, it will certainly cost lives, including
possibly the life of the minority we are trying to freeze, stop, slow or restrain.
Could another reason that it's easier to just shoot a suspect be that it is simply a hassle to deal with the
consequences if the attacker(s) live? These consequences can include lawsuits, the officer being
suspended, defense attorneys parading suspect's injuries in front of a jury, and leaving out the fact that the
suspect could just as easily have been shot as harmed with restraint, and many others. In short, the entire
court system has to be educated in the value of non lethal and strong verbal alternatives, especially when
used by bodyguards or the public, and this has to start as early as our police academies. In addition to
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misunderstanding strong verbal commands and verbal force, many juries also have to be educated about
tasers, pepper spray, saps and even knives. They must understand that the damage the prosecution is
trying to focus them on, is nothing compared to the finality of death when lethal force is used! The
following scenario lesson is from a video training module on non lethal force:
Non Lethal Scenario Assailant walks at officer or bodyguard with a pipe
1. STOP NOW, FUCKER! (High arms technique, command phase)
2. Assailant Freezes with pipe
3. PUT the pipe DOWN, NOW
4. Assailant hesitates as bodyguard continues slow approach
5. DOWN IT NOW, or you will DIE RIGHT HERE! (Consequences phase -- IF THEN ELSE)
6. Assailant is subdued as he puts pipe on ground, or continues hesitation -- freeze/ dangle
Lethal Scenario
1. PUT THE PIPE DOWN (Officer draws gun)
2. Assailant slows attack with pipe, freezes or dangles
3. Officer shoots assailant
There are many examples where strong verbal force, restraint techniques, and non lethal weapons, have
saved suspect's lives. However, in the above scenarios, if the suspect was shot, it is often a quick
departmental review stamped with a justified shooting tag, case closed. If the suspect was restrained,
witnesses or the suspects themselves can claim that the officer or bodyguard used abusive, foul or
threatening language! Can you see the dilemma? The common person does not understand that in an
adrenalin state, with narrowed vision and blocked hearing, the verbal force has to be over exaggerated to
an extreme extent to "get through." This seems harsh in 20/20 hindsight but is EXTREMELY
EFFECTIVE in stopping and defusing the threat in the instant. In fact, it can be shown that COMBINING
the verbal force with drawing the officer's gun when the suspect actually is about to pull a gun can give
the officer both the precious seconds to fire first, or not fire if the suspect is then dangling, and the officer
is on sight. The importance of the above scenarios for our new young bodyguards, and in fact the public
in general, is that once you take off the badge or the uniform you are held to a higher standard before
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using your gun or lethal force. This manual shows clearly that officers are over dependent on their guns
anyway, and in fact certain types of non lethal hand to hand and verbal techniques are even more effective
than shooting a suspect in protecting the officer's life. If you bring your police training to the bodyguard
field, there is a lot of both new learning, and unlearning that MUST take place. Many officers think that
this relates to vehicle escape, Secret Service palm scanning techniques, sniper study, lines of sight,
poisons and toxins, advanced firearms accuracy, bombs and munitions, vehicle work, etc. It does,
however, it also is just as important to learn verbal skills, verbal force and restraint techniques if you are
no longer carrying a badge or wearing a military uniform. We would argue that this training would even
assist our young protectors that are in uniform! If you, for example, think that non lethal alternatives,
including strong threatening verbal force and manual techniques will endanger your life compared to
drawing your gun, there are many exercises we can demonstrate that show just the opposite. For example,
in our knife classes, we demonstrate that you can beat a gun draw and shoot any time you are 15 feet or
less from an expert shooter, or 25 feet or less from an average officer. We also show how such
EXTREME DEPENDENCE on your gun today can get you killed, by inappropriately wasting time and
motion toward your weapon that should have gone toward the assailant's upper body and head! So, while
non lethal force is not as exotic or exciting in your bodyguard work as looking at sniper lines of site, there
are three important truths of bodyguard work that you will soon learn:
1. It’s a lot like being an airline pilot or Anesthesiologist-hours of boredom punctuated by moments of
terror.
2. Regardless of all your weapons training, it is your eyes and brains that are your primary weapons, not
your gun, and you will use MANY more verbal and restraint techniques than ever using a weapon, every
day.
3. You will learn that extremely aggressive, commanding, shocking, loud verbal force, and "looming
large" with short commands and clear deadly consequences can be amazingly effective in slowing,
freezing or stopping aggression, due to the nature of the adrenalin reaction.
This gives you precious time to talk to the suspect, defuse the situation, use quick restraint, or draw your
weapon. To the outside observer this seems harsh and cruel, but it is saving both your life and the life of
your attacker. This is far more crucial if you are a bodyguard than if you wear a uniform. The trade off is
that the press, the assailants, or witnesses will often try to crucify you for the verbal techniques, not
realizing they are specific psychological patterns used to freeze force in neurological pathways as ancient
as our jungle roots. An amusing example is the hiker who encounters a rearing bear, and waves his arms
wildly high, screaming a loud string of profanities. The bear curiously slows the attack, backs off, or stays
in place. It would be hard to argue that the bear understood the profanity! Yet, the EMOTION of the
words comes through, the "looming larger" of high arms, and any object from a phone book to a briefcase
held high that makes you look larger or more threatening, is primal freezing even to the ultimate
predators.
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Of course it is not nearly as creative as the unarmed citizen, who when confronted by a thug who pulled a
gun and pointed it in his face, said without a moment's hesitation, "Wow, how much do you want for that
gun?"
Basics of Verbal Force Techniques (VFT)
Verbal force techniques follow a regimented pattern, due to the underlying adrenalin state of the
aggressor, which shuts down hearing, and narrows vision.
VFT elements include:
(Note: Butler previously used the acronym TCSC, for TALL, COMMAND, SHOCK,
CONSEQUENCES. Prior to Butler (CFNLW.org), VFT was termed VSD, or verbal self defense, which
is actually a more general category than a specific technique.
In the first edition, Butler termed the technique VFW, to honor his fellow wounded comrades from
WWII, where Jack lost a leg. The acronym at that time stood for Verbal Force Words.
1. "Looming Large" (or T for TALL) by putting your arms in the air as high as you can, and waving or
threatening with any arm extension you have, from a briefcase to book, cell phone, piece of paper, cane,
coat, hat, purse... anything that extends and enlarges your size.
2. Giving a concurrent SHORT COMMAND (C for Command). This should be at most one to four words
if possible. These can include STOP, STAND RIGHT THERE, DON'T MOVE, WAIT THERE,
FREEZE, HALT, WAIT, and many others, situation dependent. These can and should include
PROFANITY for the shock value, situation dependent. If you do not know the language of your
assailant(s), the tone and loudness of the command are as important as the words, and commands as
simple as NO! Or STOP! Or HALT! (Which have many similar sounds in other languages) can still be
effective. The important thing is the word COMMAND. Your looming large size and quick command
establishes primal dominance even in an adrenalized state where your attacker has narrowed vision and
limited hearing. This has even proven to be effective in assailants on PCP and other drugs, at least for the
brief instant of slowing the attack, because the dominance effect is in an older part of the brain.
3. That being said, as we're sure you know, a drugged attacker will likely only be slowed enough to give
you time to access your weapon or give you a moment to escape, situation dependent.
4. SHOCKING ("S") -- use of profanity and overstated force augments looming large, authority and
dominance, to the older brain structures of your attacker.
5. CONSEQUENCES ("C") -- the OR ELSE statement is critical, and should involve an element of
DEATH, DYING, EVERE INJURY OR ATERRIFYING IMAGE. Remember, this may seem harsh, but
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it is saving the life of an assailant who is coming at you with lethal force as well as your own life, and
many States authorize you to use lethal force in that situation! What looks and sounds like extreme
language is counter intuitively humane, restrained, reasonable and appropriate. It's far better to explain
this later, than be dead or have to kill your assailant. IN its SIMPLEST FORM, the "or else" portion of
verbal force is YOU WILL DIE.
Remember, the REAL job of the bodyguard is to AVOID deadly force before it becomes physical and
DEFUSE such force before it reaches a physical manifestation stage. Do you think the intimidating size,
commanding voice, uniform, badge or weapons of a police officer, MP or bodyguard are to intimidate in
order to cause force, or defuse force? EXACTLY! Intimidation saves lives if it stops the progression of
deadly force in its tracks. In the heat of the extreme stress and fast development of a threat scenario, this
will often be whatever pops into your mind, or what you have trained on, or the last thing you were
thinking. The recent past is the best predictor of the future. Be careful with this, because if you were
thinking about racial or other slurs, they are likely to be the first thing that pops out of your mouth when
you have only a split second to react to your assailant. Verbal force actually is the extreme end of the
negotiating Spectrum. This begins with friendly subliminal suggestion, and extends to directed
conversation and negotiation communication, interrogation and questioning, gentle yet firm orders, and
finally moderate, strong and the ultimate verbal force of the VFT.
You will learn to apply these as most appropriate, but remember ONE KEY POINT: ANY application of
verbal force, including extreme VFT when faced with deadly force, is still FAR more humane, restrained
and reasonable than using physical force yourself, even if you are authorized to use lethal force! VFT
training can save your life and the life of your attacker, and in the extreme, buy you time for other options
such as escape. Of course this is not an option if you have to protect your principal or their family! The
main initial cue criteria for initiating VFT is often auditory rather than visual-- your determination that the
assailant can't hear you due to adrenalin state or being in a vehicle, behind glass, near noisy machinery,
etc. Remember, ALL FORMS of non lethal force are an extension of the principal of NEGOTIATION--
we will cover more on that below. Choosing the mildest form of negotiation is always preferable, but if
your assailant has trouble hearing you due to being on drugs, in an adrenalized state, in a vehicle, etc.,
when you do go to the extreme, go all out... the freezing effect of extreme verbal interventional force can
save both of your lives by creating a pause in the action for milder forms of negotiation, escape, or
defusing.
Principal Education
Use of VFT, and all other non lethal techniques, should be explained to your principal, their family, and
members of their press corps or PR team. You are not trying to teach them to become bodyguards, but
you are educating them on what might happen if you have to use different elements of the negotiation
spectrum, some of which may seem harsh or frightening to them. You also are educating them on how to
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defuse situations themselves without having to use physical force. Face it, even loud marital arguments
have the purpose of control without the use of physical force, as physical force is more often NOT
justified than it is justified. If your principal is elderly, female, disabled, etc. they are even more
vulnerable, and verbal responses may be their only option, because they do not have the physical strength,
health, vigor or agility to defend them. This should be a strong and well trained option for them instead of
using a gun. The public themselves have to be educated that carrying a gun does NOT mean you should
use it, especially when VFT and other alternatives, including calm negotiation, are much more
appropriate. Gun banners think that just as "To a hammer, everything looks like a nail," so "To a gun,
everything looks like a target." We're not anti-gun, we're pro education!
Too Much Logic
These techniques have to be practiced and trained, until they become automatic. You can't think fast
enough to "say the right thing," with a bunch of thinking. The average deadly force confrontation
response is under 5 seconds, and success or failure is measured in parts of a second (we use metronomes
and stopwatches to demonstrate this). Cooper, Siebert and many others taught the "Green, Yellow, Red"
states of mind when scanning your environment. If you are already on Red alert from a previous warning
cue or the situational position of your principal, your VFT reaction will be that much faster.
Criteria for Justification – Deadly Force
Before using deadly force for personal protection, quickly determine if the following three conditions
exist:
1. By means of their language, action, behavior, or demeanor, another person has demonstrated their
intent to kill or severely injure you;
2. This person has the means at hand to carry out their intent, because they are armed with a knife, gun,
club, or other lethal weapon, or, if unarmed, they are physically capable of overpowering you;
3. The physical conditions of the encounter are such that the other person has the opportunity to carry out
the attack.
These conditions warrant the use of deadly force on your part. Keep in mind that all three criteria must
exist. Such conduct is not warranted merely to protect property. You must, unequivocally, be in fear for
your life.
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Cooper Color Code System of Mental Awareness
White
Unaware of your surroundings, such as watching television.
Yellow
Aware of your surroundings, using peripheral vision to monitor behavior, and movement around you,
seeking possible threats.
Amber
You are preparing for combat; however, the necessity for offensive movements has not presented itself.
Someone yelling insults, or threatening to injure you, but not approaching.
Red
You are actively engaged in combat; someone has threatened and approached, produced a weapon, or
made an overtly offensive move towards you.
The techniques of combat fill many volumes, and all of them come down to situational factors. Attacking
an intruder in your home is completely different than attacking a mugger in an alley.
The mindset begins with the traditional "white, green, yellow red" consciousness of the environment and
threats. When you go to "red alert" you already have your hand on your gun or knife, or have it drawn
and hidden behind a bag, box, cash or other disguise. Use stealth in a fight, do not fight fair! If someone
goes for their gun close to you, and you can jab them in their eyes and chop them in the throat, blinding
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and possibly killing them, it's better than racing for a weapon if they have even a slight head start.
Running away, getting behind cover, and seeking shelter as you draw is typical law enforcement training
procedure, for a reason! A gunshot kills 70% of the time; a knife attack kills 89%.
In some cases you're better off attacking with a knife if that's your only option. As far as stopping power,
a shooting taser has 1,000 times the stopping power of a Magnum, and is truly "instant." Mindset, of
victory, of environmental awareness, of being the predator not the victim, of training and practice, are
your best weapons.
Thugs want to prey on the weak, not trained armed experts! There are too many other unarmed victims
out there to worry about you. If you can't carry legally and thugs can, get proficient with your knife, and
kill them before they finish their draw. Carry a taser or pepper spray if you have to and the laws in your
area are less restrictive of non lethal, it's better than getting caught with a gun, and also better than
carrying nothing. Mindset also has to do with beliefs about killing, values, judgment, and acting swiftly
when you see the threat is real. If an "unarmed" intruder is in your sights, and you can't see his palms, tell
him to freeze, and if he advances without showing you his palms, shoot.
It would be better if it was a shooting taser and he was unarmed. Never relax your mental trigger if he
complies, backs off or lays down, it's not over until he is in cuffs and the cops take him away, as intruders
use many tricks to try to get your gun or knife if they are unarmed, or get the drop on you if they are
armed. As you'll see in blade combat, anything closer than 25 feet, they can kill you with a knife before
you can get an accurate shot off in many cases. The very best combat instructors do many simulations,
mentally going though hundreds of if -then -else scenarios and planning on their victory steps in each
scene. This visualization practice is how all great champions achieve perfection and victory.
Vision Awareness
Learning great speed in visual recognition is a basic beginning. Your training should include short,
concentrated, daily practice in seeing quickly (awareness drills).
High levels of perceptual speed are the product of learning, not of inheritance.
A boy who is a little slow in reaction time, or in speed of delivery, may compensate for this slowness
through quick seeing.
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Speed of perception is somewhat affected by the distribution of the observer’s attention – fewer separate
choices, faster action. When the cue to be recognized is likely to be one of several, each of which
requires a different response, the time is lengthened. Choice reaction takes longer than simple reaction.
This is the basis for training the tools in terms of neurophysiologic adjustment toward instinctive
economy. Instinctive movement, being the simplest, is the quickest and most accurate.
Progression from volition to reflex control is when an athlete’s awareness is shifted from small details
(mechanical performance) to larger ones, and finally to the whole action, without a thought given to any
single part.
A habit of diffusing the attention over a wider area helps the offensive passer to see openings more
quickly.
For most rapid perceptions, attention must be at its maximum focus on the area of the thing to be
perceived (i.e.: “Get-set!” takes advantage over an opponent who lacks this “get-set” preparation).
Experiments indicate that auditory cues, when occurring close to the athlete, are responded to more
quickly than visual ones. Make use of auditory cues together with visual cues, if possible. Remember,
however, the focus of attention on general movement produces faster action than focus on hearing or
seeing the cue.
Train yourself to cut down unnecessary choice-reactions (minimize yourself naturally) while giving your
opponent a variety of possible response.
A good man is continually trying to force his opponent into the slower, choice-reaction situation.
Strategies of distracting attention (fakes and feints) are athletic devices to direct the opponent’s attention
and to make him hesitate before he can be sure of his cue to act. Of course, an additional advantage is
gained if the opponent can be induced to make a preliminary motion in an appropriate direction.
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The offensive opponent who can hit or kick only from one side permits the defensive opponent the faster
action of a one-sided focus of attention.
A person reacts to a quick motion toward his eyes by instinctively blinking. Such instinctive blinking
must be controlled in practice or else the opponent; if aware the fighter closes his eyes when threatened,
may provoke this reaction and utilizes the moment of blindness for a hit or kick.
Central vision means that the eyes and attention are fixed on one point. In peripheral vision, although the
eyes are fixed on one point, the attention is expanded to a larger field. Central vision may be thought of
as being sharp and clear, while peripheral vision is more diffuse.
In combat, a candidate must learn to expand his attention over the entire area by making full use of his
peripheral vision.
Exercise: The teacher extends his index finger and instructs his candidate to concentrate on the point of
the finger. He then begins moving the index finger of his other hand into the candidate’s field of vision
and slowly describes letter and numerals with it. The candidate should be able to expand his attention
sufficiently to recognize the figures without changing the focus of his eyes.
The field of vision is enlarged by distance and diminished at close-range. Also, it is generally easier to
follow the opponent’s footwork than his hand work, since the foot moves relatively slowly compared to
the more rapidly moving hand.
Slow is Smooth, Smooth is Fast
The "slow is smooth, smooth is fast" concept likely has its origins in the Military. Within that context,
moving fast (or rushing it) is reckless and can potentially be fatal. However, if you move slowly, carefully
and deliberately, you're actually moving as fast as you can without needlessly increasing the risk on your
life.
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Practicing at reduced speeds will make you faster when you go full speed. Full speed is often slower than
you think, and there is a difference between going full speed and being rushed. When you are rushed you
stumble, fumble, and are generally all thumbs (or have two left feet). When you go full speed you are
going as fast as you can comfortably go.
Martial artists do this, Soldiers do this, in fact, anyone trying to master a technique would do well to
practice slowly and increase speed only when it's comfortable.
Doc Holiday said, "Take your time in a hurry" to describe how to win a gunfight. With firearms,
precision and accuracy get you the desired result---put the bullet through something vital and you put the
man down. Miss and you get nothing.
The expression comes from the rifle range. It's what Marine Corps instructors tell their trainees regarding
loading, unloading, aiming, etc. It's an expression from the range that bleeds over into other areas of the
Military and into the civilian world.
Because the same "principles of violence" apply no matter what the tool we use, the same truth applies
when it comes to using a knife, a stick, your boot, or empty hands---precision and accuracy get you the
desired results. Put your boot through something vital and you put the man down. Miss and you get
nothing.
Slow practice is target practice---it gives you the time to get it done right, as well as the time to be aware
of your mistakes so you can correct them and learn from them. Train yourself to relax and perform the
steps with efficient precision. Train to relax, train to focus, train to muscle memory. When you're relaxed
and calm and need to move fast, you'll move like lightening.
In the end, the person who gets it done right gets to go home. Taking your time with slow practice makes
sure that’s you.
The exact origins are disputed. Some also attribute the quote to Sergeant Alvin York (Medal of Honor
recipient), others to Wyatt Earp. One thing is for sure, all three were accomplished gunfighters, so the
origin of the quote is less important than the truth of it.
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Ten Kenpo Laws all Martial Artists Should Know
For decades, Kenpo has been renowned in the West as one of the most effective and efficient martial arts
in existence and for hundreds of years before that it enjoyed a similar reputation in Asia. Much of that
success can be attributed to a set of fighting principles that has been defined and refined into an exact
science through the efforts of scores of masters who knew the meaning of trial by fire. This article
outlines 10 of those laws for the benefit of all the martial artists who have not had the opportunity to
experience them firsthand.
KENPO LAW #1: THE CIRCLE AND THE LINE
The first law of Kenpo states that when your opponent charges straight in and attacks, you should use
your feet to move your body along a circular path. You should also consider moving your arms in a
circular pattern to deflect the oncoming force. When your opponent attacks you in a circular fashion,
however, you should respond with a fast linear attack —along a straight line from your weapon to his
target. Just as the circle can overcome the line, the line can overcome the circle.
KENPO LAW #2: STRIKE FIRST
This principle has several meanings. First, it indicates that kenpo is primarily a striking art. Seventy
percent hands and 30 percent feet is the classical breakdown, but you can change the proportion according
to the circumstances or your body build. The second meaning is that if a confrontation is inevitable—a
thug is climbing through your bathroom window at 2 o’clock in the morning and he starts swinging a
baseball bat—you should not wait for the aggressor to attack first. You need to hit him first with a foot, a
fist, an elbow or a knee. You also need to hit hard and hit continuously until he is subdued. The kenpo
curriculum also includes numerous grappling and throwing techniques, but research has shown they are
used in less than 25 percent of the encounters practitioners have found themselves in, and they are
ineffective against multiple attackers. Because grappling uses four times as much strength and energy as
striking does, it has been deemed a last resort suitable for use only if your opponent penetrates your first
and second lines of defense: your feet and fists, respectively.
KENPO LAW #3: MULTIPLE STRIKES
Kenpo is different from many karate styles in that it teaches you to strike first and strike often in rapid
succession— high, low, straight in and along a circular path. While unleashing such rapid-fire strikes, it
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becomes difficult to kiai (shout) in conjunction with each one. Therefore, you should forget about issuing
a kiai with each blow; in fact, doing so means you are expending excess energy. Your first and second
strikes should be designed to stun, distract and slow your opponent. Your third and, if necessary, fourth
strikes are the power blows. Remember the kenpo maxim: First set your opponent up, then take him out.
KENPO LAW #4: TARGETS
If you had to punch a hole through a wall, would you rather hit a half-inch of sheet rock or a 2x4 stud?
The answer is obvious, and it’s also why kenpo advocates striking “soft” targets. No one ever broke his
knuckle punching an attacker’s temple, no one ever fractured his instep kicking an attacker’s groin and no
one ever injured his knifehand striking an attacker’s throat. In Japan the makiwara board is used to
toughen the hands, and in Thailand muay Thai fighters harden their shins by kicking banana trees. Kenpo
is different in that it teaches the path of least resistance and least pain. Precisely targeting the temple, face,
nose, neck, solar plexus, stomach, groin and floating ribs is superior to simply pummeling away on
random parts of the aggressor’s body.
KENPO LAW #5: KICKING
Kenpo’s mandate to kick low is based on logic. A roundhouse kick and spinning reverse crescent kick to
the head may be flashy and impressive, but such maneuvers take longer to execute because your leg has
to travel farther. They also expose your groin to your opponent’s kick. Because kicking high requires
superior balance and focus, you should practice your leg techniques high. But deliver them low for self-
defense. Furthermore, kicking low to the legs—executing a “pillar attack”—can break your opponent’s
balance and his leg.
KENPO LAW #6: NO BLOCK
Kenpo emphasizes economy of movement and economy of time. Hence, its no-block principle teaches
that to avoid being struck by a punch or kick, you should move your body out of harm’s way. The most
advanced defense taught in the martial arts, it was perhaps best expressed by the old Shaolin priest in the
Kung Fu television series: “Avoid rather than check; check rather than block; block rather than strike;
strike rather than hurt; hurt rather than maim; maim rather than kill—for all life is precious.”
Strategically, a block is a wasted move because it does not stop your opponent from attacking again with
his free limb. It is much better to move yourself out of the way of his punch or kick and simultaneously
counterattack. This way of fighting is reserved for brown belts and above, however, because it requires a
higher level of skill to employ correctly and a significant amount of sparring experience to avoid the
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tendency to allow your feet to stick to the ground during the crisis your brain senses. The no-block
principle does not mean blocking plays no part in fighting. If you were standing in a corner with no way
out and an assailant charged with a club, you would have to block his attack. That’s why kenpo teaches
eight distinct blocking systems, along with dozens of traps, yet they all lead to the same maxim: The best
block of all is no block at all.
KENPO LAW #7: YIELDING AND REDIRECTING
Yielding and redirecting are best exemplified by the symbol of yin and yang (soft and hard). When your
opponent attacks hard, you should counterattack soft. If he is weaker than you or attacks soft, you should
counterattack hard to end the encounter quickly and directly. Aikido includes many techniques that rely
on the same principle of yielding and redirecting. In most karate systems, however, blocking is extremely
hard and may injure not only the attacker but also the blocker. For the most part, kenpo does not adhere to
this concept of “a block is a strike.” Instead, it teaches you to block soft and strike hard. Redirecting is
also of paramount importance. Many arts teach their practitioners to use a downward block to stop a front
kick, resulting in the dents’ hammerfist being slammed into the attacker’s instep, but such an impact can
break the blocking hand or arm. Kenpo teaches that it is preferable to parry your opponent’s leg to the
side and spin him off-balance before you counterattack hard. Such a redirecting movement will usually
disrupt his balance and leave him vulnerable.
KENPO LAW #8: MOBILITY
Mobility may be the easiest kenpo principle to understand. It holds that a moving target is harder to hit
than a stationary one. As basic as that sounds, many martial artists fail to implement it. Kenpo teaches
that there are three types of fighters: the statue, who has little mobility and will not retreat; the runner,
who has to be chased around the ring; and the steamroller, who just keeps coming at you. If you are any
one of these, be careful because you are predictable and can thus be defeated. To transcend mediocrity,
you must mix things up and no matter what, keep moving. If your stance is upright and your movement is
good, you will be able to put yourself in a superior position relative to your opponent.
KENPO LAW #9: FLEXIBILITY
The law of flexibility is the law of survival. Kenpo is unique in that it adapts to your build, personality
and spirit. If you stand 4 feet 10 inches tall, it makes little sense for you to focus on kicking when your
greatest strengths may be mobility and quickness. If you are a 110-pound woman, it makes little sense for
you to grapple with a 230- pound assailant. The old kenpo masters showed their wisdom when they
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proclaimed that in a fight for your life, you should use what you know best and forget about the sanctity
of the style. Every practitioner has different attributes that can make him or her effective. A tall person
with long legs may have an advantage with kicking; a short person may have an advantage with his
hands; and a heavy person may have an advantage in grappling. The law of flexibility allows them all to
develop their own repertoire of techniques from within kenpo.
KENPO LAW #10: THE WARRIOR SPIRIT
The final principle of kenpo is composed of two essential components: the internal and external. A rabid
dog may pose a formidable threat, but it possesses only the external component of the warrior spirit.
Inside, the animal is not thinking. To have a complete warrior spirit, you must be ferocious on the outside
but calm and tranquil on the inside. Samurai warriors used to say that any day is a good day to die. That
did not mean they sought death. On the contrary, they wanted to preserve life— especially their own. But
they knew that if they went into battle with fear in their heart, they could die or sustain a serious injury.
They knew that only by embracing and accepting death could they focus everything on the physical task
at hand: defeating the enemy. Your kiai, facial expressions, stance and on-guard position must all work in
unison. Following the principle of yin and yang, you should be hard on the outside and soft on the inside.
When used in this way, warrior spirit can be more important than physical skill.
FOLLOWING KENPO’S LAWS
Perhaps the best way to put the 10 laws of kenpo into practice is to think of them as keys that can unlock
the doors of higher learning. Remember that they are not written in stone, as there are exceptions to every
rule. In the 35 years I have practiced kenpo, I have discovered only one negative side to the 10 laws: A
single lifetime is not enough to learn everything there is to know about them. No doubt many martial
artists would consider that a positive.
The Importance of Visualization
Mental focus, concentration and visualization are some of the most important parts of your training. Most
people are familiar with the saying that sports is 90% mental and 10% physical. Despite that, many
people fail to spend as much time practicing in their heads as they do practicing on the floor. Yet again
and again, top level athletes and performers in every field credit their success to mental preparation. Jerry
West, former Guard for the Los Angeles Lakers, had such a penchant for hitting buzzer beaters he was
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nicknamed ‘Mr. Clutch’. In one memorable game in which his team was trailing the Knicks with a few
seconds left in an NBA Finals game, West took an inbound pass and shot from 60 feet at the buzzer.
Knicks guard Walt Clyde Frazier recalls thinking: “The man’s crazy. He looks determined. He thinks it’s
really going in!”. Of course, it did go in, sending the crowd reeling and the game to overtime. One time,
when asked about his ability to frequently hit the big shot, West revealed the root of that confidence
Frazier witnessed. West explained that he had already made those shots time after time in his mind. Jerry
West, like so many other legends such as Michael Jordan, Larry Bird, Phil Jackson, Tiger Woods, Wayne
Gretzky and countless others, realized the power of visualization.
What is Visualization?
Visualization is a form of guided mental imagery, where the performer imagines himself succeeding at his
physical tasks. A popular visualization for athletes is the mental rehearsal of sporting events while
‘intending’ a desired outcome. Amazingly, research has revealed that visualization can actually enhance
performance to nearly the same extent as physical practice. A study conducted by Dr. Blaslotto at the
University Of Chicago is an intriguing example.
The goal of Dr. Blaslotto‘s study was to determine the effects of visualization on sports performance. As
a performance measure for this experiment, the researchers chose the free throw percentage of a group of
basketball players. First, to establish a basis for the study, the current free-throw success rate of each of
the subjects was tested and recorded. Three groups were then established, and the athletes were assigned
to one of the groups at random. After 30 days of testing and retesting, the results were as follows: The
third group, who neither physically practiced or visualized shooting free-throws, showed no increase in
percentage. The first group which physically shot free-throws for an hour daily, collectively improved
thier free-throw shooting by 24%. The second group, which practiced daily by visualizing shooting and
making free-throws, collectively improved their free-throw shooting by a shocking 23% without having
physically shot a basketball!
Another similar study was done by the Cleveland Clinic Foundation exploring the effects of visualization
on muscle strength. The results of that study also astonishingly revealed increases to muscle strength
through visualization, further reinforcing the fact that mental training is actually as impactful a tool in
performance enhancement as physical training. In one of the most well-known studies on Creative
Visualization in sports, Russian scientists compared four groups of Olympic athletes in terms of their
training schedules:
Group 1 - 100% physical training;
Group 2 - 75% physical training with 25% mental training;
Group 3 - 50% physical training with 50% mental training;
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Group 4 - 25% physical training with 75% mental training.
Group 4, with 75% of their time devoted to mental training, performed the best. In explaining the results
the Soviet scientists involved concluded that, "mental images can act as a prelude to muscular impulses."
With each imagined repetition, a neural pathway is formed. Neural pathways in short, are clusters of
neurons in the brain that work together to create a memory or a learned behavior. Dr. Blaslotto explained,
“As your brain conceives of an act, it generates impulses that prompt neurons to ‘perform’ the movement
being imagined by transmitting those impulses from the brain to the muscles.” This in turn creates a habit,
or neural pathway in the brain, programming your body’s actions as if you physically performed the
activity. Studies show that the human mind has difficulty separating reality from imagined reality. If
you’ve ever had a dream that felt “so real,” you understand. This happens because much of the brain is
unable to differentiate between "real" events and "imagined" ones, and so treats them both the same in
terms of chemical and physiological response. That's why when a person reads a sad story they cry, even
though no actual sad events have occurred, or when they watch an action movie their temperature, heart
rate, and adrenaline levels will increase, even though they are sitting perfectly still in a safe, dark movie
theater. We can use this to our advantage in our training. Visualization can help us to rehearse combative,
dangerous, and challenging situations in order to prepare us for a violent encounter. It can also help us to
improve our technique performance. The basketball study above showed almost the same improvement in
groups that imagined practicing as in groups that actually hit the floor. If we combine both aspects of our
training, we can see massive advances in our skill level.
It is also important to visualize an opponent when we perform our techniques. Any time you are
practicing your kenpo in the air, imagine an opponent who you are intimidated by. See yourself hitting
that opponent in the face, in the body. Put the situation into a context where you might be forced to
defend yourself. You are safe in the school, but imagine you are having to do your kenpo in a dark, rain
slicked alley late at night in a bad part of town. You will find that your mindset and your performance
will be drastically affected by this kind of visualization. When I am focusing on learning the proper
anatomy of targets and weapons, I visualize a solid blue human body form, like this, It helps me to
visualize exactly what I am hitting, what effect it will have on my opponent, and how the surrounding
anatomy will be affected.
But when I am practicing my techniques for self defense performance, I visualize a big, bad, scary
looking man who intends to do terrible, terrible things to us all. It helps me to use the face of actor Danny
Trejo. You can use whatever images you like. Maybe someone from your past, maybe someone you saw
on television. Maybe it helps you to see the image of something you find frightening like a monster from
your childhood. The key is to select images which cause a visceral reaction for you, and then to train
against that imagery and within that chosen context.
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Everything that you experience takes place within your mind. Everything you perceive to be real, the
things you touch, taste, see, smell, and hear, is actually just a highly detailed projected environment
created by the computer in your head. It receives input from all the sensory organs and then compiles that
into a hologram so real you never question it. But much of what you think you see is actually just the
brain filling in holes in the information its receiving from one source with information it's receiving from
another.
A particular blind spot known as the punctum caecum in medical literature is the place in the visual field
that corresponds to the lack of light-detecting photoreceptor cells on the optic disc of the retina where the
optic nerve passes through it. Since there are no cells to detect light on the optic disc, a part of the field of
vision is not perceived. The brain fills in with surrounding detail and with information from the other eye,
so the blind spot is not normally perceived. Even though you know it's there, and you can “see” it, it's
actually just your brain telling you what it expects to be there. We can take advantage of this. Since our
reality is only happening in our minds, we can create alternate realities, practice a number of scenarios
within them, and benefit from that training. The brain can't tell the difference, and neither can the body.
So train hard. And think hard. Kenpo is a mental pursuit as much as a physical one. And the candidate
who focuses on his performance and visualizes his success will find his reality matching what his brain
expects to see.
Drills -
Beginner: During every technique repetition in the air, imagine a real, aggressing opponent. See your
strikes hit real, vulnerable targets.
Intermediate: Perform a technique on the body. Close your eyes, and visualize yourself performing the
technique perfectly, from start to finish, ten times against a real opponent. Now open your eyes and
perform the technique on the body again. Pay attention to anatomical repositioning and accurate targeting.
Advanced: Imagine an attacker at 12 o'clock. When the opponent attacks, defend the original attack and
then begin a counter offensive striking combination. Continue that action to a takedown and then a
finishing move. Begin again with a standing opponent.
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Muscle Memory - it's all in the mind!
Muscle memory is a common phrase associated with the martial arts as well as in other sports, playing a
musical instrument, riding a bike or in the acquisition of any other psycho-motor skill for that matter. It is
a useful way of trying to understand what is going on: through repetition of a set of muscular actions, that
muscle (or group of muscles) will eventually react to a stimulus in a predictable and reliable way. It is as
if those muscles have ‘remembered’ what to do and the movements become automatic without the need
for conscious control. Unfortunately the phrase ‘muscle memory’ grates on me a little! It may feel as if
your muscles just know what to do all by themselves and you aren’t consciously sending them messages
to contract or relax at a given moment but your unconscious brain is working very hard to tell your
muscles what to do in any given situation. Clearly memory resides in the brain not the muscles. In my
opinion a more accurate phrase to describe what is happening is motor memory. We control all muscular
movements in our bodies through the motor system which basically consists of the brain, neurons (and
their synapses) and the somatic muscles. If you want to move a part of your body, your brain sends the
signal down the appropriate neurons to the appropriate muscle(s) and the muscle contracts to move the
required limb. Repetitive patterns of movement, such as walking or cycling, eventually become
unconscious actions, though they are still being continuously controlled by the brain.
When we are learning a new skill, say for instance a new kata or a new type of kick, your movements
may be clumsy and jerky – not at all like your instructors movements. This is because your brain has not
yet laid down a memory pattern for this movement. It hasn’t recruited the appropriate motor units in the
muscle and developed new neuronal and synaptic connections that enhance communication between the
muscle and the brain. With repetitive training of the required skill, the necessary motor units in the
muscles are recruited, neurons and synapses are created to control these motor units and a ‘memory map’
becomes laid down in the brain which enables the required movement to be evoked quickly and
accurately when a stimulus is received. For example, you see a punch coming towards your head
(stimulus) and before you know it you have evaded and blocked it. You didn’t think about it, it just
seemed to happen automatically! Well it probably did happen automatically because it’s a technique
you’ve practiced over and over again, your brain just executed the move below your conscious control –
but rest assured it was still your brain controlling it. As a new ‘memory map’ is developed in the brain
your execution of a particular technique, let’s say that new kata or kick, becomes more fluid and natural,
more precise and predictable. This is because your brain has better, more precise control of the necessary
muscles needed to carry out that movement.
So, how do we create these ‘memory maps’ in our brains (motor memory)? There are three phases to
motor learning, i.e. learning a new skill. Cognitive phase: learning a skill for the first time requires a
great deal of thinking. You have to be consciously aware of every single movement you have to perform.
Think how mentally taxing learning a new kata is. Not only do you have to learn and remember the
sequence of steps, you have to think about coordinating hand and foot positions, which way to look,
which leg to place your weight on, which direction to turn…. there’s just so much to think about. During
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this phase you go through a process of trial and error to determine which strategies help make the
movement work better. Initial progress can be quite quick. Associative phase: You’ve worked out the best
way to do the actions, so during this phase you fine tune adjustments to make the performance better.
Improvements are more gradual and this phase may take a long time, still requiring a lot of conscious
effort. We often perceive this as a long plateau phase in our training.
Autonomous phase: This the phase where the ‘memory map’ is complete and the actions become
automatic and unconscious. It can take months or years of training to achieve this. This is why martial arts
take such a long time to get good at. During the first two phases a process of memory encoding is taking
place. New neurons are being created and motor units in the muscles recruited. These new neurons are
fragile and susceptible to damage. This is why we tend to keep forgetting steps and movements we are
learning and need reminding a lot when we first start. Several areas of the brain are active during this
phase. During the final phase the process of memory consolidation occurs. This is much more stable and
less likely to degrade. Long term structural modifications are made to the motor map which prevents
degradation. This is why once we have learned a skill well we tend not to forget it even if we don’t
practice it for years, for example, riding a bike. How can we enhance motor learning and motor memory?
Feedback: there are two types of feedback occurring during learning:
Inherent feedback: you constantly give yourself positive and negative feedback about your performance
and make corrections. For example, you notice that you lean forward to hit the pad so you correct this by
stepping forward a little. You learn to correct a wobble when you turn by placing your feet further apart.
We can enhance our use of inherent feedback by having a clear picture of what we are aiming for so that
we can compare our performance to an ideal one.
Inherent feedback is a very active process – you have to think critically about what you are doing.
Videotaping can be a good way of helping us to improve our inherent feedback.
Augmented feedback: this is when someone else gives you feedback about your performance. Our
instructors regularly critique and correct our performance. This is good – it speeds up our learning, listen!
Endurance and Strength training: Endurance training helps to protect the newly forming neurons that
make up the developing memory map in the brain by up-regulating the production of neurotropic factors
which prevent the degradation of the delicate new cells. The effects of strength training are seen in the
development of new neurons in the spinal cord well before there are any noticeable changes in the
muscles being exercised. This suggests that endurance, strength and skills training are synergistic;
enhancing the rate of motor memory encoding and consolidation.
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Visualization: just visualizing yourself doing the techniques you are learning has been shown to help
induce new neuronal activity that enhances your real performance of the skill. Day dreaming isn’t a waste
of time if it is focussed on learning those skills you want to perfect! However you like to think about it,
muscle memory or motor memory, it’s all in the brain! If you think about skills learning as something that
is happening in your brain rather than your muscles then you can focus on things that enhance the process
such as visualisation and inherent feedback. Of course though, your skill level is going to be limited if
your muscles aren’t in good condition so some endurance and strength training are also important,
particularly as they have a synergistic effect on producing those all important motor memory maps in
your brain!
Mushin
'Mushin' in Japanese and 'Wuxin' in Chinese (無心 "no mind") is a mental state. Zen and Daoist
meditators are said to reach this state, as well as artists and trained martial artists. They also practice this
mental state during everyday activities.
The term contains the character for negation, "not" or "without" (無), along with the character for heart-
mind (心). The term is shortened from mushin no shin (無心の心), a Zen expression meaning the mind
without mind and is also referred to as the state of "no-mindness". That is, a mind not fixed or occupied
by thought or emotion and thus open to everything. It is translated by D.T. Suzuki as "being free from
mind-attachment".
Mushin is achieved when a person's mind is free from thoughts of anger, fear, or ego during combat or
everyday life. There is an absence of discursive thought and judgment, so the person is totally free to act
and react towards an opponent without hesitation and without disturbance from such thoughts. At this
point, a person relies not on what they think should be the next move, but what is their trained natural
reaction (or instinct) or what is felt intuitively. It is not a state of relaxed, near-sleepfulness, however. The
mind could be said to be working at a very high speed, but with no intention, plan or direction.
Some masters believe that mushin is the state where a person finally understands the uselessness of
techniques and becomes truly free to move. In fact, those people will no longer even consider themselves
as "fighters" but merely living beings moving through space. The legendary Zen master Takuan Sōhō
said:
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The mind must always be in the state of 'flowing,' for when it stops anywhere that means the flow is
interrupted and it is this interruption that is injurious to the well-being of the mind. In the case of the
swordsman, it means death.
When the swordsman stands against his opponent, he is not to think of the opponent, nor of himself, nor
of his enemy's sword movements. He just stands there with his sword which, forgetful of all technique, is
ready only to follow the dictates of the subconscious. The man has effaced himself as the wielder of the
sword. When he strikes, it is not the man but the sword in the hand of the man's subconscious that strikes.
However, mushin is not just a state of mind that can be achieved during combat. Many martial artists train
to achieve this state of mind during kata so that a flawless execution of moves is accomplished — that
they may be achieved during combat or at any other time. Once mushin is attained through the practice or
study of martial arts (although it can be accomplished through other arts or practices that refine the mind
and body), the objective is to then attain this same level of complete awareness in other aspects of the
practitioner's life.
The Mindset Difference Between the Sheep, the Wolf, and the Sheep Dog
By Lt. Col. Dave Grossman (Ret.)
I talk about the sheep, the wolf, and the sheep dog, and I can’t tell how many people come up to me over
the years, and say, “I’ve always thought there was something wrong with me.” All life people told me I
was a wolf, I’m not a wolf, I wouldn’t harm the flock, but I yearn for a righteous battle, I yearn for the
opportunity to use my skills.
The sheep are all those kind, decent, gentle creatures that can only hurt you by accident, or with extreme
provocation. The wolf will feed on the sheep without mercy. In comes the sheep dog. The sheep dog is
a predator too; the sheep dog is an immediate deterrent. It takes a predator to hunt a predator, but that
sheep dog, if you have no propensity for violence, you’re a non-violent citizen, if you have a propensity
for violence and no empathy, and violence without emotion for others is the clinical definition of an
aggressive sociopath… A wolf.
But what if you had a propensity for violence, and a love for the lambs, then you spend a life time
nurturing the propensity for violence, and the desire to use the righteous path. You know the sheep heard
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about the 9/11 high jackers, and said, “Thank God I wasn’t on that plane.” The sheep dogs heard about
the 9/11 high jackers and said, “I wish I were on that plane, maybe I could have made a difference.” And
that’s that mindset.
The amazing thing about the sheep dog, they’re not destroyed by combat, they thrive in it. We’ve got to
go into combat with a positive self-fulfilling prophecy. People have scripts in their minds of, “Oh my
God, if you get into a gunfight, oh my God my life is going to go to hell, I had to kill this guy, my life is
going to go to shit.”
And that’s the mental program you just gave yourself. My life is going to go to hell; my life is going to
go to shit. Most people will tell you, in private one on one, that when I had to shoot that bad guy, it was a
culminating achievement, of a lifetime of preparation. I used my skills in a life and death event to stop a
deadly force threat, and to save lives and stop a bad man.
It was the ultimate achievement of my lifetime. The pinnacle of a lifetime of preparation. It was a
moment of great adrenaline and achievement. All my training came together and it was one of the
greatest moments of my life. If you think about going into combat that way, and the sheep dog does. A
sheep dog yearns for that opportunity. Then when combat comes, they’re not destroyed. You’ve got a
positive self-fulfilling prophecy, and it’s so important we don’t sink into what I call a pity party.
That we have this self-fulfilling prophecy, as we go into combat, the sheep dog yearns for that righteous
battle, when that moment comes, they thrive in it, and they take pride in it. They get on with their lives,
and are able to sustain themselves, drawing from, and being stronger from the experience.
Maze Koze
Dokkodo, (“The Solitary Way”)
Written by Miyamoto Musashi 12 May 1645 A.D.
“Do not go against the ways of the past. Do not concern yourself with physical pleasure. Have no
preference in anything. Harbor no greed while you are alive. In good or bad, do not be jealous of others.
Have no regrets for things you have done. No matter on which path, do not feel sorrow on parting. Do
not regret or complain to yourself or others. Do not absorb yourself in the way of love. Like nothing;
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have no desire for a house or family. Strongly dislike delicious foods. Do not keep anything which may
someday become a treasure. Do not observe any religious taboos. Have no special preferences in
weapons or armor. Do not regret dying in the pursuit of the way. Do not own or use treasure in your old
age. Respect the Gods but do not depend on them. Never become separated from the way of the martial
arts.”
“The way is becoming secondary to technique in the martial arts and they are gradually being drawn into
the field of sports.”
Omori Sogen, master practitioner of Zen and kendo
From the Heiho Okugi Sho, (“The Inner Secrets of Martial Strategy”), a manual used by the Takeda
samurai clan of Aizu province, written by Yamamoto Kansuke (circa 1580 A.D.):
“We can separate samurai teachers of strategy into three classes. A heiho sha is a samurai who has
studied deeply from many masters and added the results of his own research to his fighting method. This
allows him to be ever victorious, a virtuoso in the art of war. A heiho jin is a person who has not studied
the martial arts so deeply but has picked up some good points and specialized in certain techniques which
he applies at an opportune time so as to win (he picks the right time to fight). He will sometimes but not
always win. A heiho tsukai copies only the example of his master and passes on the techniques as he
himself learned them, without adding his own experience. As a result the techniques decline as time
passes.”
A Zen master out for a walk with one of his candidates pointed out a fox chasing a rabbit. “According to
an ancient fable, the rabbit will get away from the fox,” said the master. “Not so,” replied the candidate.
“The fox is faster.” “But the rabbit will elude,” insisted the master. “Why are you so certain?” asked the
candidate. The master replied, “Because the fox is running for his dinner and the rabbit is running for his
life.”
A karate master was walking with one of his pupils in Tokyo when the master was rudely jostled by a
group of unruly ruffians. The leader of the bunch chided the master, loudly saying, “Watch where you’re
going old man.!” The candidate, enraged by such disrespect to his master imperceptibly caught his wrist,
firmly applying a pressure point, which stopped the pupil in his tracks. As he did, the master bowed
politely and apologized for being so clumsy and discourteous. The gang broke into derisive laughter and
moved on. The master released his grip on the pupil’s wrist and they continued walking. The angered
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candidate inquired, “Sensei, why didn’t you use your karate?” to which the master replied, “I did. I let
them live.”
“For bushido, the three qualities of loyalty, right conduct, and bravery are essential. We speak of the
loyal warrior, the righteous warrior, and the valiant warrior, and it is he who is endowed with all three of
these virtues who is a warrior of the highest class.” From the Budo Shoshinshu by Daidoji Yuzan (17th
century)
Three young men came to the Shaolin Temple in China in an attempt to gain admittance as novice monks
and martial arts disciples. They were made to wait outside the gate all day and all night without anything
to eat or drink. In the morning, a monk came out and told them they would be given an audience with the
temple abbot the following morning and that they should continue to wait. One young man decided to
give up and left. The next morning, a monk came out and gave each of the remaining two hopefuls a
teacup without a bottom, and a rice cracker. One young man immediately at the rice cracker. The other
prospective initiate held the bowl and cracker patiently. After a while, another monk came out with a pot
of hot tea. The young man who had eaten the rice cracker placed one hand under the teacup without a
bottom which was burned when the hot tea was poured. The other applicant placed his rice cracker in the
teacup, which held the tea. After drinking the hot potable, he ate the race cracker. The abbot, who had
been watching through a hole in the temple gate, came out and told the candidate who had his hand
burned by the tea to go home and the other to come inside.
Ethical Leadership
The true rewards of leadership come from striving to look up to a higher moral standard. Some people
get into the “leadership game” for the next tangible reward – the next promotion, the next pay raise, the
next headline. But these individuals are inevitably doomed to disappointment. At the end of the day,
they cannot point to these things and say that they are the stuff of which genuine happiness and pride are
made. Good leaders sometimes – in fact, quite often – lose in the material world. They go right ahead
anyway, knowing that they are going to lose. Are they tilting at windmills? Do they have a “can’t do”
instead of a “can do” attitude? They are committed to defending the right values. And the right values
are seldom safe, easy or advantageous. H. Norman Schwarzkopf, U.S. Army, retired
Reigisaho: etiquette. Courtesy. The first of karate-do master Funakoshi Gichin’s Twenty Precepts (Niju
Kajo) is “Karate-do begins and ends with courtesy.” Etiquette and courtesy are essential in civilized
society and since karate-do and all of the budo are microcosms of life, it is imperative here as well.
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Will etiquette make you a better fighter? No. A better person? Perhaps. But the utilitarian value of
courtesy is similar to the safety mechanism on a firearm, both in the dojo (school) and out. I have heard
people involved in combat activities, usually “combat sports,” use phrases like, “If you want etiquette
read Emily Post, but if you want to be combat effective join our school.” This is an attempt to impress
the listener with how effective and “real” the methods of fighting, self-defense or whatever these people
do, are.
To these statements I say, “If you want to be more combat efficient, buy a gun.” The word martial comes
from military, and who has more to do with the realities of combat than military entities (even down to
home guards and militias)? Globally, throughout history, etiquette and courtesy have been an integral
part of their structure and efficacy in training, and in actual life and death battle. We need only examine
modalities such as chain of command, code of conduct, etc., to see the necessity for etiquette in martial
constructs as in daily life.
A Note on aiki:
Aiki is actually a principle: the principle of breaking the opponent’s spirit (will) to fight. In 1941, the Dai
Nippon Butokukai (Great Martial Virtue Association) determined that aiki was a part of all martial
disciplines. The kanji (characters) used to write kiai (uniting intrinsic energy) determined aiki are the
same, only reversed. Kiai happens within yourself. Aiki is bringing your kiai to bear on others.
Common examples of aiki in daily life may be found in “command presence”; the air and bearing of
power and authority as seen in the military and para-military groups such as law enforcement agencies,
parents with their children, and the teacher and/or senior with a pupil and/or junior. Takeda Sokaku
(1860 – 1943), 35th headmaster of Daito Ryu, stated that, “Aiki is defeating an opponent with a glance.”
The aiki principle can be found in the expression, “It’s not important that I know my opponent’s
techniques, I know mine,” and based largely on self-confidence developed through hard, constant training
over an extended period of time.
The True Gentleman
“The true gentleman is the man whose conduct proceeds from good will and an acute sense of propriety
and whose self-control is equal to all emergencies; who does not make the poor man conscious of his
inferiority or deformity; who is himself humbled if necessity compels him to humble another; who does
not flatter wealth, cringe before power or boast of his own possessions or achievements; who speaks with
frankness but always with sincerity and sympathy; whose deed follows his word; who thinks of the rights
and feelings of others rather than his own; and who appears well in any company, a man with whom
honor is sacred and virtue safe.”
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John Walter Wayland
A master swordsman was trying to decide which of his three sons would become his successor. By way
of a test, he sat inside a room after placing a vase atop the sliding door. He then called his youngest son
who rushed in and when the vase fell, he quickly drew his sword and cut it in two and with a bewildered
look on his face, left the room. The master got another vase, placed it in the same position as the first
vase and summoned his second son, who upon entering reached up, catching it just as it began to fall and
deftly placed it in the same spot it had been, sliding the door shut as he departed. The master then sent for
his eldest son who, upon reaching the door, stopped and asked what was required of him without sliding
the door open. The successor was chosen. There are several variations of this well-known story, each
making the same point.
Niju Kajo (20 Precepts) of Master Funakoshi Gichin (1868 – 1957)
1. Karate-Do wa rei ni hajimari, rei ni owaru koto wo wasuruna – Karate begins and ends with
courtesy.
2. Karate ni sente nashi – There is no first attack in Karate. Example of Bushido – “You do not
draw the sword at every instant when you get angry or upset.” Only in a situation of life and death.
3. Karate wa gi no tasuke – Karate is an auxiliary of justice.
4. Mazu jiko wo shire, shikoshitetao wo shire – Know thyself; then know another.
5. Gijutsu yoi shinjutsu – Intuition is more than technique.
6. Kokoro wa hanatan koto wo yosu – Let your mind go. Free your mind.
7. Wazawai wa getai ni shozu – Misfortune always occurs in negligence.
8. Dojo nomino karate to omou na – Do not think that karate is only in the Dojo.
9. Karate no shugyo wa issho de aru – Karate practice is lifetime work; there is no limit.
10. Arai-yuru mono wo karate-ka seyo, soko ni myo-mi ari – Put your everyday living into karate and
you will find myo. Myo = Cleverness, the mystery of life.
11. Karate wa you no goto shi taezu netsudo wo ataezareba moto no mizu ni kaeru – Real karate is as
hot water returning to cold water if energy is not constantly applied.
12. Katsu kangae wa motsu na makenu kangae wa hitsuyo – Do not think of winning but it is
necessary to think of not losing.
13. Tekki ni yotte tenka seyo – Alternate defense to the enemy.
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14. Tattakai wa kyo-jitsu no soju ikana ni an – The battle is according to how you maneuver kyo and
jitsu. Kyo = guard. Jitsu = guarded. (The principle is the same as No. 13).
15. Hito no te ashi wo ken to omoe – Think one’s hand and feet as a sword.
16. Danshi mon wo izureba hyakuman no tekki an – When you leave your home you have numerous
enemies. Your behavior invites trouble.
17. Kamae wa shoshinsha ni ato wa shizenitai – Beginners must master all postures without
preference, after it becomes natural. Example: Learning and learner become one.
18. Kata wa tadashiku jisseri wa betsu mono – Kata must be performed correctly without change; real
fight is different. If Kata is done correctly and mastered, in real fight the flow is as water and maneuver
kyo-jitsu correctly.
19. Chikara no kyojaku (strong and soft) Karada no shinshuku (stretch and contract) Waza no kankyu
wo wasuruna (slow and fast) – all in conjunction with breath done correctly.
20. Tsune ni shinen kufu seyo – Always think and always kufu = live the precepts everyday.
NOTE: Precept 19 – literal translation: strength is strong and soft, body stretch and contract, technique
slow and fast, do not forget. Kofu in No. 20 may be translated “invent.”
A dying man looking for solace consulted the Zen master Ryokan who stated, “When you are alive, it’s
alright to be alive. When you are sick, it is alright to be sick. And when you are dying, it’s alright to
die.”
Kime (focus) – physical elements:
Momentum is defined as mass multiplied by velocity. Through this process, force is created. Force can
be further enhanced by increasing either mass or velocity or both. We can increase mass by connecting
our bodies to the ground through the conduit of the legs. This is one of the reasons for assuming a good
stance, i.e., good balance. Good balance – firm connection. Poor balance – weak connection, ergo, less
power/force when executing a technique. Velocity (speed) is, of course, equally important in this
equation. Therefore, firmly planted without being too deeply rooted is a good rule to ensure the mobility
necessary to create velocity in launching the projectile (arms/legs).
The hips and shoulders, along with stance, are integral in the process of focus.
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Torque is the motion that creates rotation and moves the torso, thus generating force.
There are two types of energy: active (kinetic) – energy in motion; passive (stored) – as in a stretched
rubber band or coiled spring.
There are two types of muscle: striated (skeletal); smooth – as in the intestines. Smooth muscles use
energy more efficiently. They lock in and maintain the same tension/force, but are too slow to perform
basic tasks. Striated muscles are controllable, fast, and easily trained but less efficient in sustaining
activity.
There are three stages in technique execution (known in Japanese as jo/ha/kyu: driving, velocity, and
impact. Driving: body moves toward target, also known as follow force. Velocity: body gains
momentum toward target. Impact: contact is made with target.
There are two types of impact: thrust – technique is locked/pushed through target; snap – technique is
pulled back immediately on contact with target.
Three basic rules:
1. Rotate hips and shoulders, which generates torque.
2. Tense abdominal muscles (and buttocks), which creates vibration.
3. Stabilize position (stance), which absorbs the shock of impact and conducts added force from the
connection with the ground.
“Victory without Contest”
One of Japan’s legendary sword masters, Tsukuhara Bokuden Takamoto (1490 – 1571), was on a small
ferryboat with several other passengers, one of whom was also a swordsman. This passenger was
bragging loudly to the boatman about his prowess with the sword and during the course of his boasting,
Bokuden shut his eyes and fell asleep. The braggart, greatly insulted, shook Bokuden and seeing his
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sword asked what form of swordmanship he practiced. Bokuden replied, “The school of victory without
contest” to which the loudmouth sneered and demanded a demonstration of his technique in a match.
Bokuden declined but the braggart pressed him vehemently until he finally acquiesced.
Telling the boatman to row to a small island nearby, he explained to his antagonist that there would be
more room there for them to engage each other. When the ferryboat reached the island, the braggart
quickly jumped on shore and drew his sword. Bokuden immediately snatched up an oar and pushed off
setting the boat back to sea. Stunned, the aggressor stood with his mouth agape. Bokuden yelled to the
stranded swordsman, “This is the way of victory without contest.”
Aiuchi (simultaneous strike):
Yagyu Mitsuyoshi (Jubei) (1607 – 1650) was a master swordsman from a renowned family of sword
masters. His father, Yagyu Matazaemon Munenori (1571 – 1646), was the instructor to the second
Tokugawa Shogun, Hidetada. A well-known tale relates that while visiting a local lord’s manor, Yagyu
Jubei was challenged by another swordsman to a match with wooden swords (bokken). They engaged
twice, with both encounters seemingly ending with simultaneous strikes (aiuchi) which appeared to
warrant calling both contests a draw. Jubei, however, did not agree, claiming that while they indeed
struck at the same time, his, Jubei’s, cut would have felled his opponent in that it would have found its
mark an instant before. In these two cases, the simultaneous strikes were not just due to happenstance,
but rather a strategy (aiuchi no heiho).
The opponent told Jubei that if he was so sure the matches were not draws, they should have another
using live blades (shinken shobu). Jubei replied, “Don’t throw away your life.” After being prodded,
Jubei at last relented and agreed to the match. The two rushed forward, seeming to have once again cut at
the same moment. However, Jubei remained standing with a cut on the outer layer of his kimono while
his fellow duelist fell dead with a mortal slice to his body.
Reality and illusion
Tsuji Gettan (1647 – 1726), a sword master, in an attempt to explain the importance of seeing things
clearly as they really are to a samurai who had challenged him, related a folk tale of a monkey who was
frantically scooping water from a pond one night with both his paws. A passerby asked what the monkey
was doing, to which the monkey replied, “I am scooping up the moon to hang in my house so I will
always have light.”
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The monkey, Tsuji explained, had seen the moon’s reflection in the pond and hastily grasped for an
illusion rather than taking the time to find reality.
Motivation
The relationship between motivation and performance is known as the “drive theory” which postulates
that increases in the performer’s level of arousal will lead to increased levels of performance. The
Yerkes-Dodson Law (a.k.a. the Inverted – U Hypothesis), suggests that performance will be enhanced
when the level of arousal is appropriate for what the performer is required to do in order to succeed. This
law states, in general, that simple tasks benefit from high arousal and complex tasks require low arousal,
e.g., power lifting: simple task. High arousal. Short-term performance. Adrenaline is released into the
blood stream. The heart rate goes up. Blood pressure increases. Blood flow to the skin and digestive
organs is reduced in preparation for maximum effort. The fight or flight syndrome. The field of attention
becomes focused. One becomes “psyched up.” High arousal is related to martial activities, such as short-
term survival combat, sparring, fighting competition of short duration (e.g., single round/match), breaking
techniques, etc. Low arousal examples may be long-term survival combat, fighting competition of long
duration (multiple rounds), demonstration(s) of long duration, kata, etc.
Newton’s Laws of Motion
1. All bodies continue in their state of motion or rest unless affected by some external force.
2. Change in the state of all bodies is proportional to the force that causes the change and takes in
the direction exerted by that force.
3. For every action there is an equal and opposite reaction.
Sir Isaac Newton (1642 – 1727)
On living day by day
From The Meditations of Marcus Aurelius (book 2, item 14)
“Though thou shouldest be going to live three thousand years and as many times ten thousand years, still
remember that no man loses any other life than this which he now loses. The longest and shortest are thus
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brought to the same. For the present is the same to all, though that which is past is not the same: and so
that which is lost appears to be a mere moment. For a man cannot lose either the past or the future: for
what a man has not, how can anyone take this from him? These two things then thou must bear in mind:
the one, that all things from eternity are of like forms and come round in a circle, and that it makes no
difference whether a man shall see the same things during a hundred years or two hundred, or an infinite
time; and the second, that the longest liver and he who will die soonest lose just the same. For the present
is the only thing of which a man can be deprived, if it is true that this is the only thing which he has, and
that a man cannot lose a thing if he has it not.”
A young man in feudal-era Japan wanted to become a great swordsman so he sought out a famous master
and upon meeting him asked, “How long will it take me to become a master?” “Ten years” was the reply.
“But what if I become your servant and live with you day and night?” “Thirty years” came the answer.
The young prospect, taken back, queried, “How can that be?” “I will train ceaselessly and work twice as
hard as any pupil ever has!” The master looked deep into the would-be pupil’s eyes and said, “In that
case, it will take you seventy years, because those who reach quickly grasp slowly.” The young man
bowed, apologized for his impatience, and promised to forget about time and to simply follow
instructions. The master accepted him and after several years of performing menial tasks as a servant, the
young man still had not touched a sword.
One day, while working in the garden, the young apprentice was struck on the head with a bokken
(wooden sword) by the grinning master. The next day while preparing tea, the deshi (disciple) was struck
again. The attacks continued day and night at any moment. The apprentice was on his guard constantly,
aware of everything around him. One day while cooking the evening meal, the master struck from behind
and in the blink of an eye the stalwart pupil wheeled around and deflected the blow with the lid of the
cooking pot. The next morning he was given a bokken and his lessons in swordsmanship began. The
years rolled by and the disciple became one of Japan’s greatest sword masters.
This lesson is epitomized in the phrase, “Gakumon ni chikamichi nashi.” “There is no short-cut (short
path) to learning.”
A bit about kiai:
Battle cries have been a part of combat throughout history worldwide. They were used to bolster courage
and confidence, to disorient and create panic in the enemy. The word panic, in fact, comes from the
Greek god of fertility, Pan, because he (according to myth) shouted yells of vitality and joy during times
of seasonal harvests, which caused far-reaching confusion in those who heard it. Physically, kiai is used
to execute forceful exhalation causing muscle contraction, and releases adrenaline and beta-endorphins
into the blood stream. It is recorded that a jujutsu master in Japan named Kunishige, revived a man, who
had taken a bad fall and was rendered unconscious, through the esoteric application of kiai. Many other
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accounts of the supernormal uses of kiai have been passed down through both written and oral
transmission. Legend has it that certain masters of various martial constructs were able to stun or kill
small animals and birds with kiai. Forms of kiai can be found in everyday tasks where exertion is
required, such as lifting a heavy object and grunting or forcefully exhaling. Recently studies have proven
scientifically the value of a scream, yell, or grunt in physical performances where strength and power are
needed.
Bodhidharma/Dharma
Known in Chinese as Ta Mo; in Japanese as Daruma Taishi or Daishi, or simply Daruma. Bodhidharma
was the third child of King Sugandha in southern India. He was a member of the Kshatriya (warrior
class) and was brought up in Conjeefaram, a small province south of Madras. He was born Bodhitara.
His name was changed by Prajnatara who taught him the Dhyana (questioning) sect Buddhism. The
name Bodhidharma means “one who penetrates the law” (of Buddhism), in Sanskrit. As a member of the
warrior caste, he learned a form of empty-hand combat known as Vajramushti, meaning “one whose
closed fist is adamant,” in Sanskrit. He travelled to China in Honan (Hunan) province and, according to
legend, settled at the Shaolin Ssu (or Szu) Temple where he allegedly created combative exercises called
“Shih Pa Lohan Sho,” (“Eighteen Hands of the Lohan”). Lohan is a term for a Buddhist saint, a disciple
of the historic Buddha. Bodhidharma founded the Chan (Zen, in Japanese) sect of Buddhism. He arrived
in China during the Sung Dynasty (420 – 479 A.D.) according to some sources. A more traditional date
has been given as 525 A.D. The connection between Bodhidharma and the creation/development of
Chinese fistic arts is considered to be more legend than fact by most historians and martial scholars.
The path of least resistance:
There is a story concerning the founder of Judo, Kano Jigoro. Master Kano was a man of culture and
refinement. An innovator and an educator of the first rate. A practical man who used common sense and
who was adverse to ostentatiousness and what he considered to be vulgar displays of strength. As the
story goes, a practitioner of jujutsu visited Kano Sensei at his dojo, the famed Kodokan, and offered to
demonstrate his skill and power by smashing a stack of Japanese roofing tiles with his bare hand.
When Kano Sensei said he would be interested in seeing such an exhibition, the jujutsu “expert” had
some of his pupils set up a stack of tiles. After some preparatory warm-ups and simulated strikes, the
visitor struck the stack of tiles with a thunderous blow using the blade of his hand (knife edge), neatly
smashing the inanimate pile. Turning to Master Kano, the jujutsu exponent asked if he, Kano, could
duplicate the feat. Kano Sensei reached into the jacket (uwagi) of his uniform and pulled out a hammer,
promptly breaking the tiles to pieces. The visitor said to Master Kano, “You didn’t use your bare hand!”
to which the master answered, “Of course not. Only the ignorant would risk injuring their hand when an
available tool would do the job more efficiently.
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“War Stories”
“The next best thing to a lie is a true story no one will believe.” “War stories” may be considered tales
told of past experiences. Usually greatly embellished. Sometimes totally fabricated. These tales may be
both entertaining and instructive. On occasion, they are fascinating, intriguing, and inspirational. The
stuff that dreams are made of. War stories are common to virtually all walks of life and areas of human
endeavor.
The term “war stories” most probably came from the recounting of combat experiences by military
personnel. I believe it is reasonable to surmise that they are, and have been, globally told and are as old
as humankind. With this likely tie to the military, it is no surprise that war stories are so widespread in
the martial disciplines. It is my feeling that such tales can be of value as long as they are kept in proper
perspective and are not merely tools used for the aggrandizement and glorification of an individual,
organization, or system, etc. “Puffing up” an experience isn’t bad if it is based on some factual
happenstance and if it serves some constructive purpose, such as motivating pupils to strive for further
knowledge and development. However, it can become an absurd abomination when spewed forth by a
bloviating braggart whose motives are solely to elevate his/her own reputation, fame, and financial
enrichment. These are the individuals who usually spin total fabrications of the most unbelievable sort
and who give a bad name to whatever field they are or claim to be involved in. It is wise to be discerning
when listening to war stories and to be careful when telling or retelling them. Keep them in proper
perspective.
On developing the mind, body and spirit through the martial arts and ways:
“Iwao no mi.” “Body of a rock.” This phrase was employed by the famous blade master/duelist
Miyamoto Musashi (1584 – 1645) to express what the Zen priest Takuan Soho (1573 – 1646), who
instructed and advised a number of legendary sword masters of old Japan, termed “fudoshin” –
“immovable mind.” Though the nomenclature is different, the concept is the same; the cultivation of an
obdurate, indomitable mind, body and spirit through consistent austere training and a disciplined life,
which allows one to unswervingly pursue a correct path in terms of moral conduct. The notion that
forging a strong mind and body developed a strong spirit was an underlying lesson propounded by
followers of the martial journey in Japan, such as Ito Ittosai Kagehisa (1560 – 1653), who used the
declaration, “Isshin itto” – “One mind one sword,” and Yamaoka Tesshu (1837 – 1888), who conveyed
the same thoughts with “Shingi ittai” – “Mind and technique are one,” inferring that cultivation of
technical excellence and moral/spiritual rectitude are inseparable. These sentiments are found in similar
maxims used in arts and crafts such as calligraphy (shodo), flower arranging (kado), and the tea ceremony
(sado).
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Repetitive training
In China, a technique for raising healthy fish was employed whereby a stone was placed in a pond
prompting the fish to swim around it. Without the stone, the fish became lethargic and lazy, as they were
less motivated to swim consistently. This method found its way to Japan and was used in raising the
brightly colored carp (koi) so commonly associated with Japanese ponds.
The Zen master Okada Torajiro used this as an analogy to point out the benefit of consistent repetitive
training/practice.
Physics
Biomechanics: the study of the mechanics of a living body. Mechanics: the branch of physics that is
concerned with the analysis of the action of forces on matter or material systems. Physics: the science
that deals with matter and energy. Mechanics: considers force, speed, energy, momentum, power, and
acceleration. Scalar quantities: quantities that have only one magnitude (one importance). Vector
quantities: quantities that have a magnitude and a direction. Force: is a measure of push or pull in a
direction, measured in pounds. Force is a vector quantity since it has a magnitude and direction. Mass: is
a measure of the amount of material an object possesses. It is related to the weight of an object. Mass is
a scalar quantity since it only has a magnitude, but not a direction. Speed: is the ratio of distance moved
to time of motion. It is measured in feet per second and is a scalar quantity. Velocity: is speed with a
specific direction. It is a vector quantity. Energy: is a measure of the ability to do work. Two basic types
of mechanical energy are potential energy and kinetic energy. Potential energy is stored energy. A rock
on the edge of a cliff has potential energy. Kinetic energy is the energy of a moving object. The rock
resting on the edge of the cliff has no kinetic energy. However, if the rock falls, gravity turns potential
energy into kinetic energy. Energies are calculated quantities. Kinetic energy is calculated as the product
of the mass of an object times (X) distance. The units for energy are pounds per foot (foot-pounds).
Energy is a scalar quantity. Power: is the ratio of energy to time. The units for power are foot-pounds per
second. Power is a scalar quantity. The predominant factor in a technique’s energy is speed. Strength is
mainly important in the way that it contributes to speed.
Furyu: “Elusive elegance of the wind”/reticence:
Furyu is often translated as reticence. A standoffishness or coolness towards people, places, and things.
It was a quality emulated and cultivated by the samurai in order to remove themselves from mundane
things.
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This seemingly unconcerned attitude was an expression of a developed detachment in order that one be
better prepared to fulfill his duties. In the modern-day (gendai) budo, furyu takes a different form, one
that conveys humility more than detachment. It is more a shunning of flamboyance. Keeping a low
profile and doing what needs to be done. Shying away from attention to oneself. “Mugei – mumei,”
“Without art – without name.” Keeping an imperturbable spirit and a countenance that doesn’t betray
one’s emotions.
Physiology and biomechanics:
The forefist in karate makes use of the first two knuckles specifically as the striking surface or contact
point. This is done because the heads of the first and second knuckles are the largest in diameter and they
take most of the impact force, which is best in that the second metacarpal (the bone connecting the
knuckle to the wrist) is longest, thus enhancing the capability to absorb impact and tension-loading of the
bone cortex (hard outer layer of bone). The first metacarpal augments the second, adding overall
strength.
Elegant Simplicity or Reserved Elegance
This is a concept found in the traditional/classical martial constructs that may be applied to the way
something is done: the execution of technique, the performance of form. The way something is designed
– the dojo. The way something is worn – the Gi. Something that effectively and efficiently gets the job
done without anything superfluous or unnecessary. Something that serves a purpose or makes a statement
without undue fanfare, attention, or ostentatiousness. A reserved elegance that lies in no more and no less
than what is needed. Many examples of shibumi may be found in nature.
A note on seniority:
Technically, one who is admitted to a martial system/school, training hall, organization, dojo, etc., before
another, is considered the senior to the latter who is thereafter the junior in the relationship. This rule of
thumb is found within the senior/junior relationship system that permeates the societal structure of Japan.
It may also be seen in other Oriental societies to one degree or another and to a lesser degree in the
Western world as well, e.g., school, work, the military. The senior/junior system is glaringly apparent in
traditional martial disciplines.
A deviation of this “first in” seniority rule is seen in many dojo when it comes to rank and grade.
Circumstances such as inactivity often warrant a junior being elevated in rank before his/her senior.
When this occurs, the senior in rank is accorded the deference that protocol calls for in training matters,
but the senior admittance is always treated with the proper respect.
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“Training wears you down to polish you up”
According to legend, the famous 16th century Japanese sword master Miyamoto Musashi once sent a note
to the revered master instructor Yagyu Munenori asking for instruction, which was the correct form of
etiquette when requesting a duel. Yagyu wrote a return note stating that he was longer the headmaster of
the Yagyu Ryu and of an advanced age, and he feared Musashi wouldn’t have much he could learn from
him, thus he must respectfully decline.
Yagyu then took a short sword out to his flower garden where, seeing a beautiful blossom, he cut the stem
with one deft stroke. Yagyu sent the flower along with the note to Musashi who was at first puzzled by
the flower. After careful examination of the stem, Musashi noticed how clean and precise the angle of the
cut was after pondering the meaning of the seemingly strange gift, he realized what Yagyu was trying to
convey. Katsujinken – satsujinken.” “The sword that gives life – the sword that takes life.”
People in positions of authority are often seen as having all the answers to life’s questions and problems.
Teachers seem to be looked upon in this light more often than others. This holds true in the martial arts
and ways, and instructors must be very careful not to let themselves become caught up in thinking that
they are omniscient.
While it is true that a teacher of the martial disciplines must wear many hats, they must never let their
head get too big for these hats.
Knowing one’s limitations is an important element of wisdom. An instructor must always be cautious
and deliberate in offering advice to pupils concerning matters relating to life outside the school.
Koshi – the hips:
The correct use and position of the hips in the martial arts and ways are of major importance.
Hip rotation properly employed at the right moment is integral to generating power when executing
techniques. The value placed on the hips in the martial constructs is readily found in the teaching and
historical writings of traditional/classical schools, not only of Japan, but also China and Korea. Hip
placement and movement is imperative in maintaining good balance and rapid body transfer. A point of
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performance consistently stressed in our sets is keeping the hips on an even plane. There are a number of
phrases and terms in Japanese used to admonish practitioners to be ever vigilant in the correct
employment of the hips. One such phrase is “Koshi ga takai mono,” “Having high hips,” which implies
that the center of gravity is too high and that one is unbalanced.
“Be careful”
“Be careful with your thoughts because they can become your words. Be careful with your words
because they can become your actions. Be careful with your actions because they can become your
habits. Be careful with your habits because they can become your character. Be careful with your
character because it is your life.”
Thoughts on pressure point:
While I am a believer in the efficacy of attacking vital points of the human anatomy with certain
specifically designated techniques, my belief is tempered by a healthy skepticism, previous instruction in
and practice of said topic at hand, a not complete ignorance concerning details of human anatomical
composition, practical hands-on (no pun intended) experience, and a somewhat detailed (though nowhere
near complete or scholarly researcher quality) study of and experimentation with many of these methods.
I feel that due to the aforestated reasons, my opinions on this have merit and validity while being acutely
aware that I am by no means a “world class” or “leading” authority in the field.
I am of the contention that while there are a select few capable of applying techniques to certain points
along various meridians of the body, caveats must be made known to general practitioners of the
structured martial disciplines concerning this matter. Things like the opponent’s physical condition, size
(height/weight), body structure, fighting experience and ability, fighting spirit, etc., must be considered.
It is further important to recognize the difference between application to compliant subjects in a
controlled environment as opposed to opponents bent on destroying you in actual combat. Other factors:
kinetic or static applications, the opponent’s state of arousal, i.e., anger, sobriety or lack of, pain
threshold, etc. In concluding this brief diatribe, I cite the old axiom, “When in doubt, choke ‘em out!” If
they can’t breathe, they can’t fight. Don’t rely on “mysteries” or modalities that you may not be fully
capable of or qualified to utilize. From my own experience, I find that pressure points are best suited in
escaping from a grasp or clinch, or putting the user in a more advantageous position to apply further
tactics in conjunction with another technique, e.g., a joint reversal, in order to enhance the effectiveness
of said technique rather than as a “coup de grace.”
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Loyalty to one teacher
The virtue of loyalty is a rare commodity in virtually all areas of life these days and the martial
disciplines, even the classical/traditional forms, are no exception. In the past (in the Orient),
teachers/masters were highly respected. Often revered and venerated. In Japan during the Edo
(Tokugawa) era (1608 – 1868), instruction in martial constructs opened up to those who weren’t
exclusively professional “men-at-arms” due to the unification of Japan under the military rule of the
Tokugawa Shogunate. This created a situation whereby many who had been professional warriors were
basically thrown out of work, thus becoming masterless samurai known as ronin (wave man/men). These
ronin would often teach their martial skills for remuneration in order to sustain themselves. It was not
uncommon then for ronin to travel throughout the country on training missions known as musha shugyo
whereby they would hone their skills in challenge duels and, (when these were not of a fatal nature), if
they were defeated, ask for instruction from those that bested them. In this way martial practitioners
would often have a number of people that they learned from but would consider one as their
teacher/master. In other instances, a ryu (school or system) would be passed on to an individual who had
devoted themselves exclusively to the founder/headmaster of said ryu. Of this group, some would
eventually make certain changes to form their own offshoot branches of tradition that had been passed on.
Others would continue the tradition intact. Unchanged. Then pass it on to the next generation. Still
others would continue the tradition under the same banner while adding variations and nuances, yet
preserving the essence (essential or core principles) known in Japanese martial parlance as gokui.
I believe in being aware of and learning about other disciplines and methods. However, the budo of my
teacher provides a complete spectrum for study with guidelines that allow for experimentation,
innovation, and continual growth that can easily span a lifetime. In times past, teaches would send select
pupils to instructors of other arts and ways to broaden their scope. This took place in my teacher’s
education.
I greatly admire those who stay loyal to one teacher for a lifetime but this is not to say that I look upon all
who choose to change teachers with disdain and condemnation. On the contrary, I am of the opinion that
there are circumstances that not only warrant, but demand such decisions. I find it deplorably sad,
however, when people switch from teacher to teacher purely for opportunistic motives such as receiving a
higher grade or more “exalted” position within a given organization or group. Those who follow such a
course do so for ostentatious self-aggrandizement and financial gain with no thought of learning,
improving, and gaining more knowledge for themselves or their pupils. I have a phrase that I use to
convey my sentiments on this subject: “My teacher is not the best teacher but he is my teacher, therefore
he is the best teacher (for me).”
One path
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This is a phrase that I have included as a part of my personal code or set of precepts by which I attempt to
live. Hitotsu (no) michi implies many things, such as following one course in life, loyalty, honor, dignity,
integrity, fidelity, perseverance, staying focused and centered. Following one path doesn’t preclude
change. Life is change and adaptability is imperative. The Greek philosopher Heraclitus proffered his
Theory of Flux which states that “Man cannot step in the same river twice.” The water is in a constant
state of flux, continually flowing. However, this should never deter us from the course we choose to
chart.
I use the analogy of a ship’s rudder and a compass. The compass is the code or set of precepts that we use
to guide us on our life’s journey, and the rudder, which steers us toward our destination, represents the
stabilizing elements in our existence: family, faith, our work, craft or art, love.
“No holidays in karate”
During my time studying Koei Kan Karate-Do and often used phrase was, “there are no holidays in
karate.” In time, I came to understand that it meant not so much that the practice of karate shouldn’t
cease on those days designated as holidays, he meant that, but also that karate was for a lifetime and that
it should be a part of our daily life. Something that we “live” and not just “do.” I learned further that it
meant karate was practiced in the way we thought and in the way we conducted ourselves. That karate
practice could and should be applied to the way we did things from complex tasks to mundane chores.
That the principles we learn in the study of karate could and should be put to positive, constructive,
productive use in areas of our lives.
Regimentation
Strict regimentation in karate is largely a product of 20th century Japanese influence. This was
exacerbated by a national sentiment of militarism that began, to a degree, after the Russo-Japanese War
(1904 – 1905) and peaked in the 1930s until the end of World War II (1945). Karate had been introduced
to mainland Japan from Okinawa on a meaningful scale in 1922 by Master Funakoshi Gichin (1868 –
1957) and many changes were made in the methods of transmission, the form and categorization of
techniques, the structure, names, and methods of dissemination of kata, and the overall way in which
training was conducted. This was done in an effort to conform more closely to the Japanese way of doing
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things. The pervasive militaristic attitude of the 1930s and during the Second World War, affected the
harsh, often severe discipline and structure of formal training sessions. This continued and was
reinforced during the 1950s and 1960s, particularly in the university karate clubs. Another reason that
staunch regimentation took place was the broader scale on which it was being disseminated. On
Okinawa, karate had traditionally been taught on a more individualized basis. This began to change when
it, karate, was introduced into the Okinawan school system in 1901. With its introduction to mainland
Japan, karate instruction was made available to greater numbers in an effort to spread and popularize this
martial construct, and this proliferation and popularize this martial construct, and this proliferation made
regimentation more desirable as it better facilitated mass transmission. It is interesting to note that the
ancient systems, such as kenjutsu (swordsmanship), traditionally have been passed on in a less
regimented, more personalized fashion. This is by no means to say that strict adherence to discipline and
etiquette did not and does not exist, but rather exists in a less militaristic-drill form.
From the Yojokun, (“Lessons on Nurturing Life”) written by Kaibara Ekiken (1630 – 1714), a samurai,
physician, and Neo-Confucian scholar:
The foundational concepts and philosophical assumptions are basic to Oriental medicine, philosophy
(Taoism, Confucianism), arts/crafts (pedestrian or civilian and martial), agriculture, and in essence, the
“Way” of everyday living regardless of the chosen path.
Ki (in Japanese, chi in Chinese, prana in Sanskrit): intrinsic energy, vital energy, life force that permeates
all living things. In scientific thought, the foundation of sub-atomic particles which constitutes a material
force that is constantly in motion. Basic premise: Ki seeks a natural flow, which can be facilitated (in
humans) by certain mind/body methods. Ki, in this way, may be channeled so that its natural flow may
be maintained, leading to harmony (mental, physical, spiritual balance, and well being). Ki is found in
the changing of seasons, the flow of rivers, all natural phenomena – life. It should be noted that ki is in
all things in life that move and change in and of themselves. A rock or building, for example, would not
have ki but may have a “spirit” or “feeling” about it (a concept found in Shintoism).
In/yo (in Japanese, yin/yang in Chinese, um/yang in Korean): the character for yin indicates the dark,
shaded side of a mountain, alluding to a hidden place or thing symbolizing peaceful, tranquil, soft (the
passive female element). The yang is indicative of light, the sunny side of a mountain. It symbolizes the
moving, hard (the male active element). Yin symbolisms: Earth, descending, death. Yang symbolisms:
heaven, ascending, life. The interaction of yin/yang gives rise to the 5 elements: water, fire, earth, wood,
metal. All converge to give form to the flow of the universe – the tao (in Chinese; do, in Japanese). The
“Way.”
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The sequential order of progression when learning a technique should be: form first, then speed, then
power. When practicing with a partner, don’t resist or try to counter or stop the technique. Keep in mind
that both you and your partner are attempting to learn, and form comes first.
Some people resist and do everything they can to thwart the application of a new technique when they are
acting as the attacker in order to show their partner how strong or tough they are or otherwise impress
those around them. Remember that once the form of the technique is achieved, resistance as well as
attempts at countering should be added to the practice. Also, it is easy to resist or counter when you know
beforehand what the technique will be. The principle of shu ha ri (a Japanese martial art concept which
describes the stages of learning to mastery).
There was an old and revered karate master in Okinawa who was a fisherman. One day while he was at
the seashore, he was approached by a young man who asked to become his pupil. The master quickly
seized the prospective candidate and dragged him into the sea holding his head underwater. The young
man struggled fiercely until the master dragged him back on the shore. As the young man gasped for air,
the old master asked, “What was the most important thing to you while you were beneath the water?”
The young man said, “To breathe.” The master told him to return when the study of karate meant as
much to him.
Advice on Teaching, for my red belts
1. If there are ten mistakes correct two (at one time).
2. Never abuse authority in or out of the dojo.
3. Lead by example. “Example is the best sermon.” Benjamin Franklin
4. Teach according to the individual.
5. Beware of over-analysis, over-teaching.
6. Make training interesting, not easy.
7. Allow for mistakes.
8. Be generous with encouragement. Critique rather than criticize. “Correction does much, but
encouragement does more.” Johann von Goethe
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9. Be firm but not unbending. Martial arts and ways are a benevolent dictatorship.
10. Realize a pupil’s strengths and weaknesses and teach accordingly.
11. If you don’t know the answer to a pupil’s question, find it.
12. Be kind but never coddling.
13. Study! “A teacher who forgets to learn is not a teacher.” Onishi Eizo, Koeikan Shiso (founder).
14. Train! Practice! (same idea as 13).
15. Your goal as a teacher: Help your pupils become the best they can be. (In all areas).
16. Never think that you can solve all of a pupil’s problems. (Know your limitations).
17. Be careful who you take under your wings. Choose wisely and slowly. (Familiarity breeds
comtempt – in contemptible people.)
18. Know when to guide and when to goad.
19. Help without harming.
20. Never attempt to force theological, philosophical, ideological, political opinions/beliefs on pupils.
21. Practice good moral principles. Point but don’t preach.
22. Put forethought and passion into each class. (Plan your work and work your plan).
23. Don’t forget bun bu ryodo (the way of both martial and academic studies).
24. Live by a code based on loyalty, duty, respect, self-service, honor, integrity, personal courage.
25. Remember that your teachings and conduct have a profound and lasting effect. Think, act, and speak
accordingly.
“When heaven is about to confer an important office upon a man, it first embitters his heart in its purpose;
it causes him to exert his bones and sinews; it makes his body suffer hunger; it inflicts upon him want and
poverty and confounds his undertakings. In this way it stimulates his will, steels his nature and thus
makes him capable of accomplishing what he would otherwise be incapable of accomplishing.” Meng
Tze, Chinese Confucian philosopher (4th century B.C.)
“It’s not the destination that’s important but the journey.” This oft-heard phrase points out the importance
of seizing the day. Living in the moment. This, however, does not mean that we should neglect the
destination, for it is the destination that gives us direction, and the journey, purpose. There are many
paths to the mountain but the wrong path leads nowhere.
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Zen lesson:
A samurai came to Hakuin (1685 – 1768), a famous Zen master and asked, “What is hell, what is
heaven?” Hakuin replied that the samurai was stupid and didn’t deserve to be a samurai. The samurai,
enraged, chased Hakuin with his sword drawn and cornered him. As he raised his sword to cut him
down, Hakuin said, “That is hell.” The samurai then paused to compose himself and his thoughts and
Hakuin said, “That is heaven.”
Foundational influences on budo philosophy: Buddhism, Taoism, and Confucianism.
Buddhism: Zen and the more esoteric forms of Mikkyo (to a lesser degree). Zen propounds finding a
deeper meaning to life by seeking enlightenment as to the true nature of things and ultimately, ourselves.
Sometimes described as “the self making the self into the self.”
Taoism: human beings can and should seek a life in harmony/balance with nature. A life free from
pretense and unnecessary desired. Above and beyond ego.
Confucianism: consideration of duty and obligation. Learning by doing. Social virtue. Self-awareness.
Self-improvement to improve all existence. Altruism. Concerned with the relationship between people
(how we treat one another). The relationship among people, state of society, and government. Justice
and humanity.
Buke sho hatto (Rules for martial families): Rules and regulations defining the duties and status of
military families composed by the Zen priest Suden during the reign of the military leader (shogun)
Tokugawa leyasu in the year 1615. It extolled the value of studying both academics and martial skills and
strategies. Virtues such as loyalty, piety, ritual decorum, etc., were added by subsequent shogun. The
Buke sho hatto had an influence on martial philosophy and has bearing still on elements of present day
budo.
About returning to the beginner’s mind (shoshin):
“When you first see a mountain it is just a mountain. After training you realize that a mountain is
something more. Finally, when you come to a state of enlightenment you realize that a mountain is just a
mountain.”
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Worldview common in Oriental (Eastern) thought: Man is an integral part of nature and should exist in
harmony with natural laws. Seek to conquer, defeat, overcome oneself to create a better existence from
within.
Worldview common in Occidental (Western) thought: Rationally, logically, and materialistically. Man is
an entity separate from nature. Nature is to be conquered, controlled, and changed to create a better
existence from without. The view best expressed in the philosophy of budo (the martial way) is found in
the middle course. Prioritize. First change yourself from within, and then change the world from without
to create a better existence.
Catching a catfish in a gourd: The dried shells of squash and other fruits and vegetables were often used
in Japan to hold water, sake, etc. Catching a catfish in a gourd is a sort of allegory used to point out the
virtue of patience. If one goes to a stream and tries to scoop up a catfish in a gourd, the chances of
catching one are slim indeed. The catfish will dodge and squirm away. But if one sinks the gourd at the
bottom of the stream and waits, the curious catfish will eventually swim inside. This was a common
theme in Zen ink paintings in old Japan and can also be found on sword handle guards (tsuba). Teachers
of a martial disciplines are to extol the importance of patience in training, as well as life in general.
The Critic
It is not the critic who counts, not the man who points out how the strong man stumbled, or where the
doers of deeds could have done them better. The credit belongs to the man who is actually in the arena,
whose face is marred by the dust and sweat and blood, who strives valiantly; who errs and comes up short
again and again; who knows the great enthusiasms, the great devotions and spends himself in a worthy
cause, who at the best knows in the end the triumph of high achievement and who at the worst, if he fails,
at least fails while daring greatly, so that his place shall never be with those cold and timid souls who
know neither victory nor defeat.
Theodore Roosevelt (1858 – 1919), 26th President of the United States
The role of the sensei (instructor) is to guide, lead, and direct, not to control. By this, I mean not
controlling the daily life of a pupil. Martial discipline (e.g., karate) has often been described as a
“benevolent dictatorship.” It must be such in training and in the conduct of the dojo (school).
Shodan (black belt)
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A Black Belt does not presuppose the wisdom of Confucius, the virtues of Saints, or the physical prowess
of Hercules. A Black Belt should, however, be expected to exemplify the integrity of Karate principles,
both physically and philosophically.
One who earns a Black Belt does so through consistent, dedicated, strenuous practice and study of all the
components that comprise a traditional martial entity in an attempt to become a well-rounded, balanced
human being.
The Black Belt is, and should be, a symbol of those more concerned with defeating themselves than in
defeating others, and becoming the best they can be rather than being concerned with becoming better
than others. Development of character rather than “characters” is a primary goal of Karate but it must be
remembered that it (Karate) is a martial construct and, as such, should always be more than just fighting
but never less. The Black Belt, in and of itself, is merely a piece of cloth worn around the waist but what
it represents is not worn but lived. Moral and ethical principles including honor, respect, duty, sincerity,
loyalty, kindness, courage, perseverance, and humility are the foundational building blocks of true karate.
These together with the constant repetitive practice of karate’s physical elements blend to give lasting
meaning and worth to the Black Belt.
The forging of the self through hard work and introspection over a sustained period of time, which is
necessary to legitimately achieve a Black Belt, is an accomplishment realized by relatively few and is
therefore a source of great pride to those who, through their blood, sweat, and tears, earn it. Rightfully so.
However, a Black Belt worthy of the grade must always keep in mind the Japanese adage often repeated
in Karate: “Uwate ni wa uwate ari.” “Every superior has a superior.” Please remember that “The more
fruit the stalk of rice bears the lower it bows.” Many people equate the Black Belt with the title,
“Master.” In reality, a first degree Black Belt is simply a “Master Beginner.” It is the start of a new
phase that, for some, is a lifelong journey. It is more often than not a major step in “learning the cause of
ones ignorance.” A parallel may be found in the story of the young person who at eighteen is disgusted
by how little his/her parents know and is amazed at twenty-one how much they have learned in three
years.
Shodan (Black Belt) may be translated as “first step” or “first level.” May the Shodan (Black Belt) that
you have earned be a catalyst that motivates you to reach further and climb higher.
Kokki: self-conquest
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“Thoughts of desire, fame and profit are all human emotions, ones that often arise easily. It is not
virtuous to indulge them. To restrain these emotions, one should use the method of subduing the self.
Subduing oneself is difficult. We must summon sufficient willpower and not relent for a moment. We
can maintain control over these emotions by being aware of them when they first arise. This is the
method of subduing the self. If one determines to pursue learning and love what is right, thoughts of
fame, profit, and material goods will weaken. If heavenly principles advance, human desires retreat.”
Kaibara Ekiken (1630 – 1714 A.D.)
Foundations in Training
There are two elements that must be understood for good self-defense training:
1. All survival skills, even weapons skills have empty hand technique as their foundation.
a. You will probably not be able to access your weapon in time during a close range
encounter.
b. Your ability to get into a good shooting platform, getting a shot off, depends on
your coordination, agility, and physicality you develop training in empty hand fighting.
2. Anything is possible. You can’t train for every possibility; it is always possible to paint
yourself into a corner you can’t get yourself out of.
It’s possible to envision the no-win situation; it’s pointless to train for those. You must train
for those situations that are most likely to occur. At least you should gear your training
toward those situations that are most likely to occur.
All natural phenomena form a bell curve when plotted.
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If we’re talking about a physical encounter, the severity of the encounter might be along the
event that happens axis.
The number of times we encounter the event will be along the number of times access. We
get very few light physical encounters and we get very few extreme encounters, but we get
more physical encounters in the middle. It is in this area that we need to focus our training.
Kenpo Power Principles
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Kenpo power principles are based in science and logic, physics and kinetics, and are sound principles that
generate power through the use of the body and body movement. The four main power principles in
Kenpo are Back-up Mass, Borrowed Force, Torque, and Marriage with Gravity.
Back-up Mass
Back-up mass is weight moving directly behind the weapon when the weapon is delivered. It is, for
instance, moving forward as you punch.
Borrowed Force
Borrowed force is using the attacker’s force against him; typically it involves the opponent moving in,
being drawn in or pulled in, and striking him at the same time. The effect is equivalent to a head-on
collision, like two fast-moving cars colliding, the damage and impact doubling.
Torque
Torque is any kind of turning or twisting action which creates power. Typically this involves the turning
of hips, a rotational force that lends power and momentum to a strike.
Marriage with Gravity
Marriage with gravity involves generating power by using the force of gravity, going with gravity, and
dropping weapon and weight down with the strike. It is back-up mass moving downward.
Kenpo makes use of scientific principles and burns them into muscle memory by practicing proper body
mechanics and studying the use of these principles in self-defense techniques. The techniques of Kenpo
are designed to teach principles, not really pre-set movements, and how to combine principles in
sophisticated and effective ways. As you might have noticed, Kenpo techniques show sophistication, as
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even in single moves, multiple principles are occurring. The candidate is encouraged to use the logic of
science and learn how the natural occurring laws of physics can be an ally in self-defense.
Sparring
1) 3 points wins the match.
2) 1 point each for hand and kicking techniques
3) No face contact or contact below the belt.
4) No sweeps, takedowns or blind techniques
5) All contact is to be light contact.
6) No point for focused strikes
7) Each match will have a 2-minute time limit.
8) Points are by a majority of the 3 Judges.
9) Safety gear is mandatory. That includes gloves, helmet, boots, mouthpiece and groin protector for
boys. Chest protectors are optional.
10) Competitor will be given one warning for violation after that a point will be deducted. If the violator
has no points a point will be awarded to the opponent.
Self-Defense
Under belts perform 3 techniques / Black Belts perform 5 techniques.
Competitors can pick techniques from the list of sets from their respective belt levels.
Techniques are to be judged on:
1) Form – stances, execution of strikes, speed, balance and proper body alignment
2) Intensity – focus, power and kai
3) Effectiveness – based on realism
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Vulnerable Points
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The Purpose of Sets
At the heart of the Kenpo Karate system are Self Defense Techniques. These are sequences of motion
practiced with a partner. One person performs some type of attack and the other person runs through a
series of movements meant to defend against that type of attack.
While Self Defense Techniques are groups of movements which must be learned and practiced, it should
be stressed that these are not fixed formulae for responding to specific attacks. Grouping movement
combinations into Self Defense Techniques provides the opportunity for a person to safely and repeatedly
practice on another person(s) and explore principles of offense and defense from a vast pool of choices.
Through repetition, these movements become part of each candidate's unconscious response to an attack.
By the time a candidate reaches Black Belt they are proficient in defense against most any means by
which one or more persons can attack them.
Stance Set
1. Natural stance
2. Right foot to 1 o’clock into right neutral bow
3. Extend right foot into right forward bow
4. Right foot back to 5 o’clock into left neutral bow
5. Extend right foot back into left forward bow
6. Right foot back to 3 o’clock into horse stance
7. Right foot in to natural stance
8. Left foot to 11 o’clock into left neutral bow
9. Extend left foot to left forward bow
10. Left foot to 7 o’clock into right neutral bow
11. Extend left foot back into right forward bow
12. Left foot back to 9 o’clock into horse stance
13. Left foot in to natural stance
Blocking Set
From a horse stance:
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1. Right inside block
2. Left inside block
3. Right outside block
4. Left outside block
5. Right inside block/Left outside block
6. Left inside block/Right outside block
7. Left outside block/Right inside block
8. Right outside block/Left inside block
Movement Set
1. From a right neutral bow

2. Step and slide right
3. Push step back
4. Step and slide left
5. Push step forward
7. Switch your feet
9. Push step back
11. Push step forward
13. Switch your feet
15. Shuffle step back
17. Shuffle step forward
19. Switch your feet
21. Shuffle step back
23. Shuffle step forward
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25. Natural Stance
Warming Up
Warming up is a process which elicits the acute physiological changes that prepare the organism for
strenuous physical performance.
IMPORTANT: To gain the greatest benefit from the warming-up procedure, the exercises should imitate
as closely as possible the movements which are to be used in the event.
I’m a fan of shadow boxing.
Warming up reduces the viscosity of a muscle, its resistance to its own movement. It improves
performance and prevents injury in vigorous activities by two essential means:
1. A rehearsal of the skill before competition commences fixes in the martial artists neuromuscular
coordinating system the exact nature of the impending task. It also heightens his kinesthetic
senses.
2. The rise in body temperature facilitates the biochemical reactions supplying energy for muscular
contractions. Elevated body temperature also shortens the periods of muscular relaxation and
aids in reducing stiffness.
No fighter uses his leg violently until he warms it up carefully. The same principle is equally applicable to
any muscles that are to be used so vigorously.
The duration of the warm-up period varies with the event. In ballet, the dancers spend two hours
before the performance, commencing with very light movements and gradually increasing the intensity
and range of motions until the moment before their appearance. This, they feel, reduces the risk of a
pulled muscle which would destroy the perfection of their movements.
The martial artist of more advanced years tends to warm up more slowly and for a longer time. This fact
may be due to greater need for a longer warm-up period, or it may because a martial artist tends to get
“smarter” as he gets older.
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Self-Defense Sets
Yellow I Defense against a front punch

Step with your left foot toward 10 o'clock into a left neutral bow
*Execute a left inside block
*Execute a right outside block, then hook with your right hand to capture arm
Right snap kick to the ribs
Execute a low side kick to the knee, bringing your attacker to their knee
Control your assailant with an arm bar
Yellow II Defense against a two-hand front choke

From a natural stance, step back with your right foot to 6 o'clock into a left forward bow
Execute a double knife edge strike to the attackers arms
Double spear hand strike to the throat
Yellow III Defense against two-handed choke from the rear

Step with your left foot to 9 o'clock into a horse stance
Execute a right rear elbow to the solar plexus
Execute a hammer fist to the groin
Finish with an obscure elbow to the jaw
Orange I Defense against a front punch

Step with your left foot towards 10 o'clock into a left neutral bow
Execute a right outside block
Grab your attacker around the neck with both of your arms
Pull your assailant's head forward and down
Execute a right knee to your attackers body
Orange II Defense against a front punch

Step with your left foot towards 10:30 into a left neutral bow
Execute a right outward block
Execute a right palm heel strike to your assailant’s nose
Slip your right around behind your assailant’s head and grabs his neck
Pull your assailant’s head down
Execute a right knee strike to your assailant’s face
Pivot into a horse stance facing 3:00
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Execute a left elbow strike to the base of your assailant’s skull
Orange III Defense against a front punch

Step with your right foot back towards 6:00 into a left neutral bow
Execute a left inside block
Execute a right outside block, use your right hand to hook and trap your assailant’s arm
Execute a right snap kick to your assailant’s ribs
Plant your foot towards 3:00 into a right neutral bow facing 3:00
Control your assailant with an armbar
Orange IV Defense against a front punch

*Execute a right outside block, use your right hand to hook and trap your assailant’s arm
Execute a right roundhouse kick to your assailant’s ribs
Break his arm with a left forearm strike to his elbow
Slide along the arm with your left arm to elbow your assailant’s jaw
Apply pressure with your left arm to bring your assailant’s body down
Execute a left downward elbow to the base of his skull
Orange V Defense against a front punch

Execute a right outside block, use your right hand to hook and trap your assailant’s arm
Execute a right snap kick to your assailant’s midsection
Grab your assailant’s head
Pull your assailant’s head downward
Orange VI Defense against a one handed lapel grab

Grab your assailant’s wrist with both hands
Step your left foot across your right foot in a left front twist stance
Pivot 180 degrees underneath your assailant’s arm to face 6:00 in a natural stance
Place your assailant’s arm on your shoulder above the elbow
Execute an elbow break
Orange VII Defense against one handed lapel grab

Execute an outside block with your right hand
Counter grab your assailant’s bicep with your right hand
Execute a left hook punch to your assailant’s ribs
Follow up with a left hook punch to his head
Flow into an elbow strike to the side of his head
Reverse direction and execute a back elbow to your assailant’s face
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Flow into a back-fist to the face
Orange VIII Defense against a two hand grab from behind

Step your right foot across behind your left foot towards 9:00 into a left front twist stance
Pivot 180 degrees into a natural stance facing 6:00
Grab your assailant’s right shoulder with your left arm
Slide both of your hands down to grab your assailant’s wrist
Twist to apply a wrist activated armbar. (Come-along hold)
Orange IX Defense against a front punch

From a natural stance step with your left foot towards 10 o’clock into a left neutral bow
*Execute a left back-fist strike to your assailant’s face
*Trap your assailant’s right wrist with your right arm
Bring your left hand down to join your right
Twist your assailant’s arm into a wrist activated armbar. (Come-along hold)
Orange X Defense against a front punch

From a natural stance step with your left foot towards 10 o’clock into a left neutral bow
Trap your assailant’s wrist with your right hand
Execute an elbow strike to your assailant’s face with your left
Step back with your left foot towards 6:00 into a right neutral bow
Bring your left hand down to join your right
Orange XI Defense against a right front punch

Step with your right foot towards 1 o’clock into a right neutral bow
Execute a left outward block
Execute a left jab to your assailant’s face
*Drop your left hand down and grab your assailant’s right wrist
*Execute a right heel palm strike to your assailant’s nose
Reach around behind your assailant’s head with your right hand and grab his neck
Pull your assailant’s head down
Bring your right hand down to join your left
Orange XII Defense against a front punch

From a natural stance step with your left foot towards 10:30 into a left neutral bow
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*Execute a right outside block
*Trap your assailant’s wrist with your right hand
Execute a left heel palm strike to your assailant’s jaw
Bring your left hand down to your assailant’s elbow
Apply pressure on the back of your assailant’s elbow to control with an armbar
Purple I Defense against a front punch

Step with your left foot towards 10 o’clock into a left neutral bow
Trap your assailant’s wrist with your right hand
Step your left foot towards 3:00 into a horse stance facing 3:00
Grab your assailant’s forehead with your left hand
Pull your assailant over backwards with your left hand
Execute a left knee strike to the base of your assailant’s neck
Purple II Defense against a left front punch

From a left neutral bow
Duck underneath your assailant’s punching arm to the outside.
Execute a left hook punch to your assailant’s ribs
Pull your assailant’s arm towards you
Execute a right side kick your assailant’s ribs
Purple III Defense against a right front punch

From a right neutral bow
Duck underneath your assailant’s punching arm to the inside
Grab around behind your assailant’s head with your left hand
Execute a right forearm strike to your assailant’s left temple
Execute a right reverse elbow strike to your assailant’s right temple
Purple IV Defense against an on-rushing attack

Push drag back towards 6:00 into a left neutral bow
Shuffle forward between your assailant’s arms towards 12:00
Grab your assailant’s head with both of your hands
Pull down on your assailant’s head
Execute a knee strike to your assailant’s face
Purple V Defense against an on-rushing attack

Push drag back towards 6:00 into a right neutral bow
Shuffle forward between your assailant’s arms towards 12:00
Grab your assailant’s head with your left hand
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Execute a right forearm strike to your assailant’s left temple
Purple VI Defense against a hammer lock applied to your right arm

Step towards 3:00 into a horse stance
Execute a left reverse elbow to your assailant’s face
Execute a left reverse elbow to your assailant’s solar plexus
Step your left foot to 1 o’clock and pivot into a right neutral bow facing 6:00
Purple VII Defense against a hammer lock

Step towards 3:00 into a horse stance
Counter grab your assailant’s wrist with your right hand
Use the pivot to twist your assailant’s arm into an armbar
Execute a right snap kick to your assailant’s midsection
Purple VIII Defense against a two hand choke from behind

Execute a left knuckle strike to your assailant’s throat
Execute a right elbow strike to your assailant’s jaw to finish
Purple IX Defense against a two hand choke from behind

Trap your assailant’s right arm with your right hand
Shuffle forward and place your right foot behind your assailant’s right foot
Bend and twist your assailant’s arm in a chicken wing/keylock/armlock
Take your assailant to the ground
Purple X Defense against a two hand choke from behind

Trap your assailant’s right arm with your right hand
Execute a right knee strike to your assailant’s solar plexus
Plant your right foot to 9:00 (since you are facing 6:00) in a right neutral bow
Apply pressure to your assailant’s elbow with your left to activate an armbar
Blue I Defense against a hand shake set up
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Use your right hand to turn your assailant’s arm so that his elbow is down
Execute a left upward forearm strike to your assailant’s elbow
Step your left foot forward into a left neutral bow
Execute a left inward elbow strike to your assailant’s ribs
Pivot to face 3:00 into a right neutral bow
Control your assailant with an arm bar
(Right hand controlling right hand, left pressing on shoulder.)
Step your left foot to 3:00 into a left neutral bow
Force your assailant to the ground by applying pressure to his shoulder
Blue II Defense against a hand shake set up

Rotate your right hand to the outside to counter grab your assailant’s wrist
Execute a heel palm strike to your assailant’s elbow to break
Execute a right snap kick to your assailant’s left knee
Blue III Defense against a grab to your shoulder

Pin your assailant’s hand to your shoulder with your left hand
Step forward with your right foot into a right neutral bow
Execute a right straight punch to your assailant’s chin
Grab your assailant’s head with your right hand and pull forward
Plant your right foot back to 6:00 into a left neutral bow
Continue to pull your assailant’s head to pull him to the ground
Blue IV Defense against a hammer lock.

Step your right foot towards 3:00 into a horse stance
Step your left foot around behind your assailant’s legs
Execute a left elbow strike to your assailant’s face
Loop around the arm controlling yours with your left to apply an armbar
Step your right foot back into a left neutral bow
Push with your left arm to swing your assailant in front of you
Execute a right elbow to the base of your assailant’s skull
Blue V Defense against a rear bear hug, arms free

Drive your knuckles into the back of your assailant’s hands
Execute double elbow strikes to your assailant’s biceps to force a release
Trap your assailant’s right wrist with your right hand
Step with your left foot forward into a left neutral bow
Pivot towards 6:00 into a right neutral bow
Apply a wrist activated armbar/come along hold to the trapped arm
Push forward on your assailant’s wrist to force him to bend over
Execute a left snap kick to your assailant’s face
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Blue VI Defense against a rear bear hug, arms free
Step with your right foot towards 3:00 into a horse stance
Execute double elbow strikes to your assailant’s biceps to force a release
Step your left foot around behind your assailant’s into a horse stance
Execute a left elbow strike to your assailant’s face to knock over legs
Pivot with a right punch to your assailant’s solar plexus
Blue VII Defense against a rear bear hug, arms pinned

Step with your right foot towards 3:00 into a horse stance
Execute a left hammer fist to your assailant’s groin
Step your left foot behind your assailant’s into a horse stance
Execute a left elbow strike straight up into the chin
Pivot with a right punch to your assailant’s solar plexus.
Green I Defense against a right hand grab to your shoulder

Step your left foot back to 6:00 into a right neutral bow
Grab your assailant’s right wrist with your left hand
Step forward into a right neutral bow
Pull on your assailant’s arm with your left arm
Execute a right heel palm strike to your assailant’s nose
Execute a left half fist strike to your assailant’s face
Execute a right punch to the solar plexus
Green II Defense against a hand grab to your shoulder

Step your left foot back into a right neutral bow
Pin your assailant’s left hand to your shoulder with your left hand
Execute a right inward block to break your assailant’s arm and bend him over
Shuffle forward maintaining your right neutral bow
Execute a right elbow strike to your assailant’s ribs
Execute a right downward elbow strike to your assailant’s head
Green III Defense against a left shoulder push from behind

Step your left foot forward into a left neutral bow
Pivot to face 6:00 into a right neutral bow
Execute a left snap kick to your assailant’s midsection
Green IV Defense against a shoulder push from behind

Step your right foot forward into a right neutral bow
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Pivot to face 6:00 into a left neutral bow
Execute a left jumping kick to your assailant’s midsection
Green V Defense against a handshake and sucker punch

Pull sharply with your right hand to pull your assailant off balance
Execute a right knee strike to the midsection
Plant your right foot down behind your assailant’s legs
Push your assailant’s right shoulder with your right hand to sweep to ground
Green VI Defense against a grab to your wrist

Step forward with your left leg into a left neutral bow
Counter grab your assailant’s right wrist with your left hand
Execute a left roundhouse kick to your assailant’s ribs
Execute a left roundhouse kick to your assailant’s thigh
Green VII Defense against a grab to your wrist

Grab your assailant’s grabbing arm with your right hand
Peel the arm off and apply a wrist activated armbar/come along hold
Step forward with your left foot into a left neutral bow
Execute a left reverse elbow strike to your assailant’s face
Green VIII Defense against a grab to your wrist

Twist your left wrist counter clockwise to break your assailant’s grasp
Counter grab his grabbing hand with your left
Execute a right knap kick to your assailant’s mid section
Grab your assailant’s head with your right hand and pull down
Execute a right knee lift into your assailant’s face
3rd Brown I Defense against a grab to your wrist

Grab your assailant’s grabbing arm with your right hand
Peel the arm off and apply a wrist activated armbar/come along hold
Execute a left elbow strike to your assailant’s ribs
Apply pressure to the back of your assailant’s arm with your left forearm
Step your left foot towards 3:00 into a left neutral bow facing 3:00
Force your assailant to the ground
Execute a right downward punch to your assailant’s temple
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3rd Brown II Defense against a hand shoulder grab to your shoulder
Step in with your right foot into a horse stance facing 9:00
Loop your right arm around your assailant’s grabbing arm.
Execute a left punch across your body to your assailant’s face
Pull with your upper body to force your assailant over your right leg
3rd Brown III Defense against a shoulder grab to your shoulder

Step back with your left foot into a Right Neutral bow
Grab your assailant’s hand with your left across your body
Execute a right elbow strike on top of your assailant’s arm to pull him in towards you
Grab your assailant’s left shoulder with your right hand
Pull with your right hand across your body to turn your assailant’s back to you
Loop your left arm around your assailant’s neck and apply a rear naked choke to finish
3rd Brown IV Defense against shoulder grab followed by a hook punch

Step back with your left foot into a right neutral bow
Trap your assailant’s right wrist with your right hand
Pull your assailant’s right wrist toward you
Grab your assailant’s left shoulder with your left hand and pull so that his back is facing you
3rd Brown V Defense against a two handed choke from behind

Step back with your right foot into a horse stance facing 3:00
Step across your right foot with your left into a twist stance facing 3:00
Pivot clockwise so that you are facing 9:00 in a horse stance
Grab your assailant’s left shoulder with your left hand and pull him so that his back is facing you
3rd Brown VI Defense against a two handed on rushing push

Come in between the outstretched arms with a cross block
1. Follow with a left back fist to the right side of your assailant’s face
1. Grab your assailant’s left shoulder with your right hand
Spin them around to apply a rear naked choke
3rd Brown VII Defense against an overhead Club attack

Execute an upward cross block with your right on top
Bring the arm to the inside and spin 360 degrees underneath the arm
Take away the weapon with your right hand
Execute a low strike to your assailant’s knee with the weapon
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Finish with a strike to your assailant’s face with the weapon
3rd Brown VIII Defense against a snap kick

Step back with your right foot into a left neutral bow
Execute a lower cross block with your right on top and trap your assailant’s foot
Grab your assailant’s heel with your left hand
Grab your assailant’s toes with your right hand
Twist your assailant’s ankle to spin your assailant around
Execute a right snap kick to your assailant’s supporting leg.
Push your assailant’s foot forward to force him to the ground
Follow up with a right punch to finish
3rd Brown IX Defense against a snap kick

Step back with your right foot into a right neutral bow
*Execute a right inward low block
*Execute a left outward low block
Execute a right snap kick to your assailant’s groin
Follow with a right palm heel strike to your assailant’s chin to finish
3rd Brown X Defense against a roundhouse kick

Raise your left leg to catch your assailant’s kick on your shin to block
2nd Brown I Defense again an overhead club attack

Step drag with your left foot towards 7:00 into a right neutral bow facing 1:00
Execute a right outward block and trap your assailant’s arm
Step forward with your left leg into a left neutral bow facing 1:00
Apply pressure to the back of your assailant’s wrist with your left into an armbar
Execute a right snap kick to your assailant’s body
Drop your left hand down to your assailant’s hand and apply a come along hold
Remove the weapon from your assailant’s grasp
2nd Brown II Defense against an overhead club attack

Shuffle forward remaining in your right neutral bow
Chop your assailant’s elbow down with your left to bend his arm back
Push up on your assailant’s elbow with your left hand
Push forward on your assailant’s wrist with your right hand
Shuffle into your assailant to force him to the ground with a chicken wing throw
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2nd Brown III Defense against an overhead club attack
Shuffle forward remaining in your right neutral bow
Chop your assailant’s elbow down with your left to bend his arm back
Grab your assailant’s shoulder with your left
Pull your assailant into a right knee to the mid section
Plant your right foot forward into a right neutral bow
Push your assailant to the ground with a chicken wing throw
2nd Brown IV Defense against a knife backhand slash (angle 2)

Step your left leg forward in to a left neutral bow
Execute a right outside block and trap your assailant’s arm
Grab your assailant’s left shoulder with your left hand
Pivot to face 3:00 into a horse stance so that your assailant’s back is towards you
Apply a rear naked choke
Execute a left kick to the back of your assailant’s knee to take him to the ground
2nd Brown V Defense again a knife backhand slash (angle 2)

Pivot to face 3:00 in a right neutral bow
Step forward into a left neutral bow facing 3:00
Execute a forearm strike to your assailant’s elbow with your left
Execute a right Snap kick to your assailant’s body
Plant your right foot back into a left neutral bow
Drop your left hand down to your assailant’s hand and apply a come along hold
Strip the knife from your assailant’s hand to finish
2nd Brown VI Defense against a knife backhand slash (angle 2)

Pivot to face 3:00 in a right neutral bow
Grab your assailant’s wrist with your left hand so that it’s held in both of your hands
Spin underneath the arm to apply a wrist activated armbar
Execute a right kick to your assailant’s face
Disarm the knife to finish
2nd Degree Brown Belt VII Defense again an overhead stab with a knife (Ice Pick Grip)
Step with your right foot into a right neutral bow
Step your right foot across your body into a right twist stance
Unwind to face 6:00 in a horse stance
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Toss your assailant over your shoulder with a shoulder throw
2nd Degree Brown Belt VIII Defense again a stabbing attack with a knife (angle 5)
Step your left leg back in to a right neutral bow
Execute a right downward block and trap your assailant’s arm
Grab your assailant’s wrist with your left hand so that it’s held in both of your hands
Spin underneath the arm to apply a wrist activated armbar
Execute a right kick to your assailant’s face
Disarm the knife to finish
1st Degree Brown Belt Technique I Defense against a right stabbing attack with a knife (Angle 5)
Execute a right downward outward block
Pivot to face 3:00 into a horse stance
Grab your assailant’s hands with both of yours
Pivot 180 degrees underneath your assailant’s arm
Guide the knife into your assailant’s midsection
1st Degree Brown Belt Technique II Defense against a gun threat from 6:00, pointed at the back of your head
Raise your hands in surrender
Step back with your right foot into a left neutral bow facing 12:00
Pivot 180 degree into a right neutral bow facing 6:00
Note: Your right raised arm should knock the gun out of the line of fire
Step towards 6:00 into a left neutral bow with your left foot
Execute a left stepping punch to your assailant’s face
Grab your assailant’s wrist with your right hand
Step towards 9:00 with your left foot so that you are facing 12:00 in a horse stance
Break your assailant’s arm over your shoulder and take the gun
Pivot to face your assailant and point the gun at him
1st Degree Brown Belt Technique III Defense against a gun threat from 6:00, pointed at the back of your head
Pivot 180 degree into a right neutral bow facing 6:00
Note: Your right raised arm should knock the gun out of the line of fire
Step towards 6:00 into a left neutral bow with your left foot
Grab your assailant’s wrist with your right hand
Execute a right knee strike to your assailant’s arm to weaken his grasp of the gun
Take your assailant’s weapon and point it at him as you move away
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1st Degree Brown Belt Technique IV Defense against a gun threat from 9:00, you are perpendicular to your assailant
Execute a left outward block and trap your assailant’s hand
Pivot to face your assailant in a left neutral bow
Execute a right snap kick to your assailant’s body
Land in a right neutral bow facing 9:00
Grab your assailant’s head with your right hand
Pull your assailant’s head into a right knee to the face
Spin underneath your assailant’s arm to apply a come along hold.
Take the gun from your assailant and point it at him as you move away
1st Degree Brown Belt Technique V Defense against a gun threat from 9:00, you are perpendicular to your assailant
Deliver a left side kick into your assailant’s ribs
Plant into a left neutral bow facing 9:00
Grab your assailant’s elbow with your right hand
Disarm your assailant
Drive your assailant back and to the ground with a chicken wing throw
1st Degree Brown Belt Technique VI Defense against a gun threat from 6:00, pointed at the back of your head
Step back with your left foot into a right neutral bow facing 12:00
Pivot 180 degree into a left neutral bow facing 6:00
Note: Your left raised arm should knock the gun out of the line of fire
Grab your assailant’s wrist with your left hand
Step towards 6:00 into a right neutral bow with your right foot
Execute a right stepping punch to your assailant’s face
Step your right foot across your left into a twist stance
Unwind into a horse stance facing 12:00
Throw your assailant over your shoulder with a shoulder throw
1st Degree Brown Belt Technique VII Gun threat from 12:00, pointed at your face
Execute a left outside block and trap your assailant’s wrist
Grab the barrel of the gun with your right hand
Spin the gun around to take control of it
Shuffle back, pointing the gun at your assailant
1st Degree Black Belt Self Defense Technique I Defense against a right downward club attack
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Step your right foot back towards 4:00 into a left neutral bow
Step forward with your right foot into a right neutral bow facing 10:00
Come under your assailant’s elbow with your right hand to grab your left wrist
Apply torque to your assailant’s elbow with a key lock throw
Drop your right knee into your assailant’s body
Finish with a right punch to your assailant’s face
1st Degree Black Belt Self Defense Technique II Defense against a right downward club attack
Step with your left foot back towards 7:00 into a right neutral bow facing 1:00
Execute a right outward block and trap your assailant’s hand
Step forward into a left neutral bow facing 1:00
Take your assailant to the ground with a wrist lock
1st Degree Black Belt Self Defense Technique III Defense against a straight punch
Execute a right outward block and trap your assailant’s wrist
Execute a left rising block to break your assailant’s elbow
Chop down on your assailant’s elbow with your left hand to bend it
Step in with your right foot into a right neutral bow
Twist your assailant’s right wrist with your right hand
Throw your assailant to the ground with a wrist lock
1st Degree Black Belt Self Defense Technique IV Defense against a straight punch
Execute a left outward block and trap your assailant’s wrist
Execute a right heel palm strike to your assailant’s face
Come under your assailant’s elbow with your right and grab your wrist
Take your assailant to the ground with a key lock throw
1st Degree Black Belt Self Defense Technique V Defense against a straight punch
Execute a right inside block
Step forward with your left foot into a horse stance facing 3:00
Execute a knife hand strike to your assailant’s elbow to break it
Grab your assailant’s right shoulder with your left hand
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Pull with your left hand
Kick your assailant’s right foot out from underneath him with your left foot
1st Degree Black Belt Self Defense Technique VI Defense against a straight punch
Kick your assailant’s midsection with your right leg
Execute a right upper cut to your assailant’s chin
Plant your right leg beside your assailant’s right leg in a neutral bow facing 10:00
Toss your assailant over your hip
1st Degree Black Belt Self Defense Technique VII Defense against a straight punch
Grab your assailant around the neck
Pivot 180 degrees to face 6:00 in a left neutral bow
Toss your assailant over your hip
Instructor Self Defense Technique I Defense against a straight punch from 12:00 with a wall at 6:00
Step your right foot back to 9:00 to face 3:00 into a left neutral bow
Pull your assailant with you as your step back to pull his head into the wall
Execute a right punch to your assailant’s head
OR
Step your left foot back to 3:00 to face 9:00 into a right neutral bow
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Pull your assailant with your as your step back to pull him backward into the wall
When your assailant rebounds off the wall, execute a right punch to his head
Instructor Self Defense Technique II Defense against a straight punch from 12:00 with a wall at 6:00
Execute a right elbow strike to your assailant’s face
Follow up with a right outward hand sword to your assailant’s neck
Grab your assailant’s neck with your right hand and pull
Execute a right knee to your assailant’s face.
Skip your right foot back and around to 7:00
Use the momentum from the skip to pull your assailant head first into the wall
Instructor Self Defense Technique III Defense against a straight punch from 12:00 with a wall at 6:00
Wrap your right arm around your assailant’s right arm in a figure four lock
Step your left foot back to 3:00 and pull your assailant backwards into the wall.
Grab his head with both of your hands and pull
Execute a right knee strike to the face
Finish with a left elbow to the back of the head
Instructor Self Defense Technique IV Defense against a straight punch from 12:00 with a wall at 6:00
Execute a right elbow strike to your assailant’s chin
Throw your assailant over your hip into the wall
Instructor Self Defense Technique V Defense against a downward club swing from 12:00 with a wall at 6:00
Step your left foot back towards 7:00 into a right neutral bow facing 1:00
Grab your assailant’s left shoulder with your left hand
Step with your left foot towards 3:00 so that you face 9:00 in a right neutral bow
Pull your assailant backwards into the wall
Execute a right knee to your assailant’s midsection
Finish with a left elbow strike to the back of your assailant’s head
2nd Degree Black Belt Self Defense Technique I Defense against a left flanking headlock
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Step forward with your right foot into a right closed kneel
Execute a left ridgehand strike to your assailant’s groin
Grab your assailant behind his knee with your left hand
Grab your assailant’s ankle with your right hand
Pull on your assailant’s leg to take him to the ground on his back
Execute a right kick to his face to finish
2nd Degree Black Belt Self Defense Technique II Defense against a straight punch
Step your right foot forward into a right neutral bow facing 12:00
Execute a left outward block and trap his hand
Pivot to face 9:00 in a deep horse stance
Grab your assailant’s right thigh with your right arm
Pull your assailant across your shoulders and throw with a fireman’s throw
Finish with a left stomp to your assailant’s face
2nd Degree Black Belt Self Defense Technique III Defense against a double wrist grab from 12:00
Turn your right arm palm up
Grab your assailant’s left hand with your left hand
Peel your assailant’s left hand off your right into a wrist lock
Step back with your right leg into a left neutral bow
Twist your assailant’s wrist to take him to the ground
Kick your assailant with your right foot
Twist your assailant’s wrist to break it
Return to a ready stance
2nd Degree Black Belt Self Defense Technique IV Defense against a cross wrist grab
Rotate your right wrist over to counter grab his wrist
Execute a left elbow to your assailant’s face
Apply pressure on your assailant’s elbow with your left to force him to kneel
Execute a right snap kick to your assailant’s face
Strike your assailant’s elbow with your left to break his arm
2nd Degree Black Belt Self Defense Technique V Defense against a bear hug from 6:00 with arms pinned
Step your right foot into a horse stance
Execute a left hand sword to your assailant’s groin
Step your left foot around behind your assailant’s legs
Push your assailant over your leg with your left arm
Pivot to face 6:00 with a right snap kick to your assailant’s face
(Note: Variation of Crashing Wings)
2nd Degree Black Belt Self Defense Technique VI Defense against a two hand choke from 12:00
Grab your assailant’s right bicep with your left hand
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Grab your assailant’s triceps with your right hand
Push with your right hand
Pull with your left hand
Step back with your left foot towards 4:00 to face 10:00 in a right neutral bow
Take your assailant to the ground
Drop your left knee into a right close kneel
Execute a left punch to your assailant’s face
2nd Degree Black Belt Self Defense Technique VII Defense against a grab to your lapel
Pin your assailant’s hand to your body with your left hand
Force his arm to bend into a hammer lock
As your assailant bends over, execute a right knee lift to the face
3rd Degree Black Belt Self Defense Technique I Defense against a right roundhouse kick
Step with your right foot into a right neutral bow
Execute a left outside scoop block
Execute a hand sword to the back of your assailant’s knee to bend it
Apply a figure four lock to your assailant’s knee
Push him to the ground and apply a knee crank to finish
3rd Degree Black Belt Self Defense Technique II Defense against an overhead stab (Angle 8)
Step your left leg back into a right neutral bow facing 1:00
Step forward with your left foot
Grab your assailant’s chin with your left hand
Grab the back of your assailant’s head with your right hand
Twist sharply to break your assailant’s neck
Execute a right snap kick to your assailant’s spine to kick him away from you
3rd Degree Black Belt Self Defense Technique III Defense against a right snap kick from 12:00
Step drag to your left
Execute a right outward knee block to turn your assailant’s back toward you
Apply a rear naked choke to your assailant
Step your right foot across your left in a twist stance
Unwind to face 9:00 with a hip throw to take your assailant to the ground
3rd Degree Black Belt Self Defense Technique IV Defense against a right finger pointed at your chest from 12:00
Grab your assailant’s finger with your left hand from underneath
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Twist your assailant’s arm into a hammer lock
Execute a right kick to your assailant’s right knee to take him to the ground
Execute a left knee to the back of your assailant’s skull to finish
3rd Degree Black Belt Self Defense Technique V Defense against a full nelson from 6:00
Reach up with your right hand and grab your assailant’s chin
Reach up with your left hand and grab the back of your assailant’s head
Twist your assailant’s head to take him to the ground
Drop into a left close kneel
Execute a left punch to your assailant’s face
3rd Degree Black Belt Self Defense Technique VII Defense against a right snap kick
Catch your assailant’s heel with your left hand
Grab your assailant’s toes with your right hand
Twist your assailant’s foot to turn over his body
Execute a snap kick to your assailant’s body to finish
COUNTER
Execute a snap kick
Your assailant grabs and twists your foot
Bend over and put your hands on the ground
Fire a donkey kick into your assailant’s face to stomach to finish
4th Degree Black Belt I Defense Against a Straight Punch

Attacker throws right straight punch
Step and slide right
Lead punch
Right half fist to the throat
Step through to a right horse stance
Back fist to the face
Hammerfist to the groin
As you step back to a left neutral bow
Right backfist to the face
4th Degree Black Belt II Defense Against a Rear Naked Choke

Attacker puts you in a Rear Naked Choke
Turn your chin toward the elbow
Smash the instep with your heel
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Back elbow to the solar plexus
Grab your attacker right wrist with both hands
Peel the hand
Spin out into a wrist activated armbar
Front snap kick to the ribs
Twist sharply on the wrist, breaking it
Step out into a left neutral bow
4th Degree Black Belt III Defense Against a Straight Punch

Attacker throws a right straight punch
Lead punch
Step through into a right neutral bow
Right hook punch to the head
Backfist strike to the head
Grab attacker around the waist
Grab the right wrist
Pivot into a left neutral bow throwing the attacker over your hip
Right heel stomp to the face
4th Degree Black Belt IV Defense Against an Angle 3 Knife Attack

Step through to 6 o'clock into a right neutral bow
As the knife passes execute a lead leg stepping side kick
Grab the knife hand with your left hand
Pivot 6 o'clock maintaining the left neutral bow
Execute a back elbow to the face
Frame the wrist in an A frame
Bend the wrist down, causing the attacker lose his grip on the knife
Kick the knife away
Rotate out into a wrist activated armbar
4th Degree Black Belt V Defense against an angle 5 knife attack

The attacker executes an angle 5 attack
Step and slide to the left
Outside inside block to the stabbing arm
Trap the wrist and bisep
Right roundhouse kick to the solar plexus
Left hook punch to the temple
Using your forearm, kneel down and break the elbow
Take the knife
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Back to a left neutral bow
4th Degree Black Belt VI Defense against an overhead knife swing

Step and slide left
Right outside block
Knife edge down, driving the knife in the groin
Left knife edge to the throat
Palm heel to pummel of knife
Left knife edge to the throat
Step through with right foot into right neutral bow behind attackers leg
Palm heel to jaw
Hammerfist to chest, taking attacker over
Right stomp to the sternum
Step out into left neutral bow
5th Degree Black Belt I Defense against an angle 5 attack

Attacker comes in with an angle 5 attack
From a left neutral bow, step through into a right neutral bow
*Left downward knife edge to the attacking wrist
*An angle 1 slash to the attacking wrist
An angle 3 slash to the throat
*Step out into a left neutral bow
*Angle 5 to the diaphragm
5th Degree Black Belt II Defense against an overhead ice pick attack
Bring your right foot up into a horse stance
*Execute a left outside block
*Execute a rooftop block
Execute an angle 1 slashing attack
Execute an angle 5 attack to the diaphragm
Grab the attacker around the neck
Knee strike to the knife into the diaphragm
5th Degree Black Belt III Defense against an angle 5 attack

*Step and slide in
*Left outside block
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Right snap kick to the groin
Angle 6 attack to the nerve cluster behind the collar bone
Grab the back of the attackers neck
Angle 12 attack into the diaphragm
Forward thrust kick to the attackers solar plexus
5th Degree Black Belt IV Defense against an angle 3 attack

Step and slide in
Left outside block and trap the knife hand
Hammerfist the temple, using the pummel of the knife
Flow through, angle 4 attack to the throat
An angle 3 thrusting attack into the ribs
Step and slide back maintaining your left neutral bow
5th Degree Black Belt V Defense against an overhead ice pick attack
Step and slide to 11 o'clock
*Left inside block
*Right outside block and slash
Step out into a forward bow
Angle 7 attack to the kidneys
Back into a left neutral bow
5th Degree Black Belt VI Defense against an angle 1 attack

*Step through into a right neutral bow
*Execute an outside block and trap
Angle 12 attack into the armpit (nerve cluster)
Angle 4 slash across the midsection
Angle 5 attack to the diaphragm
6th Degree Black Belt I Defense against an angle 5 attack using a pen
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*Step through in a right neutral bow
*Drop the left arm parrying the knife hand
Stab the arm with the pen
Knife edge the knife hand to remove the pen
Hammerfist the throat using the pen
Palm heel the chest to remove the pen
Forward thrust kick to push the attacker away
6th Degree Black Belt II Defense against an overhead ice pick attack
Attacker executes angle 5 knife attack
Step and slide to 11 o'clock
Parry knife with right hand
Front snap kick to the groin
Grab attackers head and pull down
Right hammerfist with pen into base of skull (reticular activation system)
Forward thrust kick to attackers solar plexus
6th Degree Black Belt III Defense against an angle 5 attack with a book
From a modified left neutral bow, spine toward you
*Step and slide right
*Deflect the right hand/knife hand with the book
Thrust the book into the throat
Front snap kick to the groin
Flat side of the book into the nose
Step through into a right neutral bow
Edge of the book into the right side of the jaw (Trigeminal nerve)
Back into modified left neutral bow
6th Degree Black Belt IV Defense against an overhead knife attack, Ice Pick Grip with a Book
*Right inside block with book
*Left outside block and trap
Straight punch with book into the throat
Strike the trapped wrist with the book (Radial nerve)
Knife edge to the right side of the jaw using the book (Trigeminal nerve)
6th Degree Black Belt V Defense Against a Knife Angle 5 using a cell phone
From a right neutral bow
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Right inside block
*Hammerfist with the cell phone to the throat
*Trap the knife hand with the left hand
Step your right foot over the left into a right twisting stance
Rotate under the attackers arm into a left neutral bow
Forearm to the elbow
Ridgehand to the throat with cell phone
Forward thrust kick to the solar plexus
6th Degree Black Belt VI Defense against an angle 8 knife attack with a cell phone
*Right inside block
*Left outside block
Half fist to the throat
Step with the right foot 1 o'clock into right neutral bow
Ridgehand behind the jaw (Trigeminal nerve)
Hammerfist to the throat
Left forward thrust kick
Back to left neutral bow
7th Degree Black Belt I Defense against a long gun rifle/shotgun

Step and slide left
Grab the rifle/shotgun with both hands
Right elbow to the jaw
Right foot to 12 o'clock into a horse stance
Hip toss
Right stomp to the face
Butt stroke to the face
Point gun at the attacker
7th Degree Black Belt II Defense against a long gun rifle/shotgun

*Execute a left outside block
*Trap the shooters lead wrist with your left hand
Step the right foot to 12 o’clock, pivot into a horse stance
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Execute a right forearm strike to the attackers lead elbow
Apply pressure to the elbow with your forearm
Execute a left front snap kick to the face
Grab the attacker behind the neck with right hand
Hold the attackers injured arm with your left hand
Rotate your hips and sweep the attackers left leg
Execute a low heel kick to the attackers face
7th Degree Black Belt III Defense against a long gun rifle/shotgun
From the modified natural stance, hands up
Right foot to 3 o’clock into horse stance
Swing the left hand down and parry the barrel away from you
Grab the rifle/shotgun on the top of the barrel
Step your right foot to 1 o’clock into a right neutral bow
Hook your right arm under the weapon, near the trigger guard
Right knee strike to the groin
Jerk up on the butt end of the gun
Push the muzzle of the gun down
Step right foot back to 5 o’clock into a left neutral bow
Forward thrust kick to the attacker’s solar plexus
Point gun at downed attacker
7th Degree Black Belt IV Defense against a side headlock

Attacker puts you in a side headlock
Circle your arm closest to the attacker over his shoulder
Reach as far to the front of the attacker as possible and execute a tiger claw to the eyes
Force the attackers head back to expose his throat
Execute a ridge hand to the groin to bring the attacker's hands down
Step out with your left foot into a right neutral bow
Execute a hammerfist strike to the throat
Execute a left forward thrust kick to the ribs
7th Degree Black Belt V Defense against an angle 8 attack (ice pick grip)
Execute a left outside block trap the wrist
Step your right foot to 12 o'clock pivoting into a horse stance
Execute an elbow strike the ribs
Hook the attackers upper arm
Rotate your body into a left neutral bow pulling your attacker over your hip
Execute a stomp kick to the face
7th Degree Black Belt VI Defense against a pistol from 12 o'clock
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Modified natural stance, hands up
Step left leg back into a right neutral bow
Execute a right inside block and trap
Left front snap kick to the groin
Grab the pistol with the left hand
Bend attackers wrist and pistol backwards, stripping him of the weapon
Execute a left forward thrust kick to solar plexus
Cover attacker with gun
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Words of Wisdom on Budo
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Bibliography
Armstrong, S. (2012). Tactical Training with Firearms. Cortland: Armstrong Tactical Solutions.
Frost, B. (2009). Maze Koze. Stroudsburg: Duane Scarborough.
Lee, B. (1975). Tao of Jeet Kune Do. Santa Clarita: Ohara Publications, Incorporated.
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Armstrong Kenpo Karate

8th Degree Black Belt and Founder | Shawn Armstrong

1. All Gi or Dobok will be clean and serviceable.

1. Come to the position of attention.

How to Tie a Karate Belt

Martial arts uniforms

Martial arts uniforms difference

Armstrong Kenpo Lineage

Founder of Armstrong Kenpo Karate

Motto: Invictus maneo

Motto Translation: I remain unvanquished.

of society is the Scottish Clan system...

Shawn R. Armstrong (born August 27, 1968) is an American author,

Armstrong was born in Ilion, NY.

Married Lorie Lawrence-Armstrong in June 24, 2002.

Author/Publisher · 2009 to present · Cortland, New York

This covers various forms of writing including:

• scripts for theatre;

• screen and radio;

• magazine and newspaper articles;

• editing, revising and reviewing work especially in response to feedback;

• working to tight deadlines, especially for theatre, screen and radio;

• submitting material for publication in the required and expected format;

• liaising with publishers, agents, script editors, producers and directors;

• finding, pursuing and maintaining knowledge of publication opportunities;

• teaching writing in further or higher education settings or running workshops privately;

Rhythm Guitarist/Vocalist · 1986 to present · Cortland, New York

U.S. Army Armor

M1 Tank Crewman · 1993 to 2005

• Armor offensive and defensive tactics

• Map reading and scouting techniques

• Field combat strategy .

U.S. Army Infantry

Section Leader/Platoon Sergeant, Heavy Weapons/Mechanized Infantry · September 3, 1987 to

• Perform as a member of a fire team during drills and combat

• Aid in the mobilization of vehicles, troops and weaponry

• Assist in reconnaissance missions

• Process prisoners of war and captured documents

Afghanistan Campaign Medal w/Campaign Star

Army Commendation Medal (3rd Award)

Army Achievement Medal (5th Award)

Army Good Conduct Medal

Army Reserve Components Achievement Medal (6th Award)

National Defense Service Medal (2nd Award)

Global War on Terrorism Service Medal

Iraq Campaign Medal w/ Campaign Star

Non Commissioned Officer Professional Development Ribbon

Army Service Ribbon

Overseas Service Ribbon

Armed Forces Reserve Medal w/ M Device (2nd Award)

Combat Infantryman Badge

Driver and Mechanic Badge with Driver - Wheeled Vehicle(s) Clasp

German Armed Forces Badge - Gold

New York State Defense of Liberty Medal w/ WTC Device

New York State Medal for Merit

New York State Aid to Civil Authorities Medal

New York State Exercise Support Ribbon

Humane Service to New York State Medal

Retired · September 3, 1987 to September 3, 2010

Armstrong Kenpo Karate Academy

Owner/Instructor · 1980 to 2009 · Cortland, New York

The Dragon Kenpo Creed

History of Dragon Kenpo