Articles by David Nishimoto:

By Ethan B. Miller

Among the discussions that commonly come up about Kyu and Dan Kumite is the effectiveness of the kumites as tools for training towards real confrontations. Sometimes the commentary seems to negate the worthiness of these drills entirely. This seems to me to be completely wrong-headed. If you take a commonsense approach to analysis the drills you might see what I mean. Both Uechi-Ryu kumites are in the mid-range of complexity in terms of the rank they were intended for – by this I mean the Kyu Kumite has a duration that is not the longest and not the shortest in comparison to other systems. The same goes for the Dan Kumite, which while more complex for the Dan grades, is of a medium duration. Anyone who remembers the Fukien fighters from the Year of the Tiger Summer Camp can remember the lengthy two-person sets they demonstrated. On the other hand many Japanese systems have individual sets of only 3 moves.

The intention of these two kumites is to bring about a physically better prepared karate student. It also does a few others things to a lesser degree. I believe the physical karate skills are what it teaches the best. What you learn in Kyu Kumite is basic Uechi-Ryu punching, kicking and blocking applied in a controlled fashion against another person. The kumites teach neuro-muscular programming and response to stimulus. They teach understanding distancing, and focusing on targets. Out of necessity they teach cooperation with a partner. If your blocks are lousy and punches are often off target the increased stressors of working with a partner will show it clearly – and allow an opportunity to correct it. They also stress the need for good body mechanics;

Hip motion, connectedness of hand to hip, hip to foot, general body control and efficiency.

What don’t they do? Well, they won’t teach you how to do a big back flip off a high board. And it won’t train you to fight in a NHB match. Since by nature the exercise is cooperative, it is not the best for contact sparring of a competitive nature. It is not going to harden your forearms or in do much in the way of increasing your flexibility. However, with certain enhancements that some gifted instructors are already doing you can work your mastery of these kumites to your advantage. Recently, we saw Sensei Jimmy Maloney demonstrate his enhanced Dan Kumite as an extremely efficient self-defense application enabling greater speed and effectiveness of his strikes and blocks – with a few surprising adaptations which you would have had to see to believe. Also at the “Hut” in Newton instructors are demonstrating an evolutionary adaptation where the competent Dan Kumises practitioner extends the steps in the Dan Kumite to expose different applications, again increase the mental and physical challenge that the kumite presents. So it is really in the hands of the practitioner once they have a good understanding of the drills.

Here is an application for the contact fighter who needs to practice rhythm and awareness training. Rhythm is often forgotten or misunderstood, but as a tool to get to be a more complete fighter it is one of the most cheaply bought – at least to a certain level. Here is the exercise. Before starting the kumite with your partner, demonstrate three speeds you will be working with – slow, medium and fast. Medium is your normal (comfortable) speed for the kumite. I would stress that this is an exercise that you should do with a partner with whom you have experience and both partners must be honest when they demonstrate their 3 speeds. With the beginning of each set in the kumite the adversaries start from a complete standstill. The Defender must be ready for whichever speed the Attacker chooses. For the attacker it is his or her opportunity to be Pedro Martinez and “catch” his opponent. Pity the poor defender who gets caught by a good old fashioned “change-up.”

The idea behind this exercise is to enhance the difficulty and add a degree of competitiveness while not sacrificing the integrity of the movements or wasting the advantage of having learned such a valuable set in the first place! When the idea of three separate speeds and good “catching” of the same is mastered you can add another evolution: A new technique….

Best wishes training,
Ethan B. Miller

By Ethan Miller

Nukite training, or spearhand training is probably one of the more underestimated strikes in Uechi-Ryu and other styles of Karate. In sparring it’s generally not permitted or adaptable, while it becomes more accessible to the advanced user it appears to commonly become a grey area in usefulness. I had often downplayed its’ usefulness in the past. Partially this is due to the westerners’ overwhelming bias to the Seiken or closed fist (not always a bad thing). Partially, it is the result of lack of appreciation of the technique.

An innocuous Nukite strike without enough force to pierce a sheet of paper can cause significant distress and even damage to an adversary’s larynx. Imagine the reaction to such a hit: the assailant has trouble speaking, breathing and coughs. The hands fly to the throat, the chin tucks and often the eyes water. What has happened, is the assailant has become open to a number of other techniques and decisions by the defender.

This is not to downgrade the importance of hand toughening drills; such as the makiwara or thrusting hands into beans or sand, or piercing drills. I’ve heard of someone practicing a piercing drill on a stretched deer hide – in order resemble the act of hitting harder targets on the human body with confidence. I stress the with confidence part. What you are doing is adding an enhanced ability to a weapon.

In the opening of Sanchin kata the Nukite shows up very strongly. I like to think of this an excellent strengthening tool and also a good way to focus attention at the hip level. Repeating the Sanchin opening over and over is a very useful drill. On the other hand, often in Kata we emphasis hip movement to the detriment of the strike – by accident. I don’t believe that the hip movement in the Seiken strike is the same for the Nukite whether it is overhand or underhand. In fact, I think the mechanics for the lower body ideally should be adapted (maybe subtly) for whatever hand strikes are applied. I see it as adapting the force continuum for different weapons.

In a tie-up for instance a Nukite to points under the jaw line is very painful and requires smaller “thrusts” like a spear. While the training and confidence to use the technique requires time the actual conditioning of the hands (toughening) is not as necessary. The strike is going to hurt like hell.

Another thought on the matter is that Nukite hand shape is a good place to keep your hand while fighting. Good for defending, striking, moving into a kansetsu (jointlockng) approach or moving into Ukemi (falling) drills. So it can be used very successfully as a transitional shape. This can be over used, and over relied on, but it works in many situations.

Also, an application for fighting with the Nukite, which calls for the practice of hand toughening drills: This is an application you might not have considered. In a barroom “negotiation” a cowardly attack from a person sitting next to you would be to pin your hand flat out and bring a beer bottle down on it. (The assailant hoping to shock the defender with the first few strikes, then attempting to break the bottle on the hand in order to begin cutting) The trained Nukite practicioner might have valuable seconds to respond because they have conditioned their hands to withstand severe treatment – less feeling of shock. Similarly, a barroom altercation that goes to the ground, or a pile up, could result in an additional assailant getting it in their heads to stomp on a defenders’ free hand. The value of hand conditioning might save you valuable time and help maintain a cooler head. Though, I’d avoid that particular bar in the real world.

Best wishes training,
EBM

By Ethan Miller, nidan

While testing for my shodan test in 1994 one of the questions I was asked by the test board was to name a strike that was being shown. It was the hiraken, and I was then asked to explain how it was used. After I did this, I of course wondered. What was I missing? The hiraken strike often shows up as a single or double strike to the temple area. This is convenient, because the trusted “iron arm” position also acts to deflect a strike or lift the arms of an opponent. My experience with the hand position is that it is much more versatile. In fact it seems to me to be the most composite of the strikes seen in Uechi-Ryu. I have seen the hiraken demonstrated two different ways by very senior practitioners. I call the first “flat” and the second “closed”. The flat position has a gap between the top thumb knuckle and the fingertips. The closed position has the fingertips tucked behind the thumb knuckle tightly. These two positions alter the fist shape and stress one weapon over another. In fact other styles may name the two positions differently.

Here are the five weapons for the hiraken position: 1) A strengthened but shorter ridge hand strike. 2) A strengthened but shorter knife edge hand. To me the both these positions are best used in the “flat” position. 3) A very durable percussion strike surface in the closed position with the front of the hand. 4) A stronger middle knuckle punch in the closed position and a weaker knuckle position in the flat position. 5) A “cutter” position.

Some of the applications of the strikes are easy to see, the “ridge” hand strike, (1) is effective as an attack, the arm makes a hooking motion targeting the neck area. Less intuitive is the short knife edge (2) to the neck in the following scenario: The defender gets caught in a bear hug with at least one arm free, and the adversary’s head is often lower and to the side of the arm that is intending to defend with the hiraken. The defender can attack the head and neck by actually striking as he is pulling his arm to himself. This technique would require a lot of confidence with the hiraken.

The face (3) of the hiraken position is very strong and it can be used to glance off the head in the temple area or higher. A direct strike to this area would rattle the opponent’s brains enough to create other openings. It is advantageous in a situation where one faces a helmeted opponent. Another shorter technique from a tie-up could be bringing it down on the bridge of the nose – possibly causing facial fractures.

Hiraken strikes, because of their design are good for many close in techniques, semi-grappling situations. The closed position in an uppercut mode is effective in this on the ground scenario: Many ju-jitsu practitioners when in the guard position favor pulling the adversary into them. Since I have a wrestling background I have never been that comfortable on my back for very long. However, an alternative for the practice of pulling the adversary into the guard would be to attack the floating rib area of the mounted adversary with short hiraken uppercuts, which would cause significant pain and reaction, while still allowing one to guard.

The “cutter” hiraken as I like to call it is evident when the practitioner runs the knuckles against the soft-tissue areas of the human body. The jagged knuckles are not unlike the serrations found in many fighting knives these days. This is a disrupting strike though the pain level is not always evident. It is dangerous to the neck and other areas – using this strike requires a significant level of knowledge and consistent practice.

Best wishes training,
Ethan Miller

by Ethan Miller

Many people use the heavy bag for practicing hand strikes. I generally do about 100 strikes left, right with a seiken fist, then do combinations in threes also with a seiken fist. I will then usually practice shuto left and right on the edge of the bag and boshiken strikes to the sides of the bag. Everyone knows Mr. H. Bag never quits.

All that is pretty ordinary for a martial artist doing solo work. So what do you do when your Not at the dojo in a class, or working out on your own? With a busy schedule or a regular job do your time for additional training is scarce and the risk of creating problems increase. Or do you just want to gab your was to greatness over a couple of lattes? Here’s something that worked for me.

Write down 3, 5 or even 10 of your favorite hand strikes. Currently I chose Seiken, Shuto, Boshiken, Shoken or Hiraken. Write them down in a couple of different sequences. As you say the names shift your hand from one to the other strike positions. Sensei Mike Aceto once described a good fist as a “snug fist” I think he got it from Sifu Calvin Chin. That to me, is a good description of a desirable position, not straining more like fitting into a good position or groove. After a while you might find it surprisingly difficult, and find flaws in your hand positions and other weaknesses. Go from one to the other for a few minutes or a much time as you have. Maybe before meditating or in bed before you go to sleep. If your mate is sick of karate stories tell them that you are practicing sign language for a deaf co-worker.

This creates a low level training technique that requires little prep and can be done at any time even traffic stops, for example. The idea was inspired by reading Toughness Training for Sports by Jim Loehrer a sports psychologist who works with pros. I recommend his book, his description of what to do with your down time, like in between points in a tennis match is valuable and gets the idea across. The result is I found my self much more confident trying different strikes or more target specific strikes, say in a light sparring contest. It works, your hands flow into position much more naturally. I would bet that the health benefits of this type of training are there as well. Have to check with a TCM practitioner though, to be certain….

Best of luck training.
Ethan Miller

by David Nishimoto

The study of Kempo Karate requires a lifetime of diligent thought. Many hours of isolated study and concentrated thought and practice are necessary to build the inner strength found in Karate. Meditation builds the focus within the mind. The mind, focused, builds confidence and well being for the body. It is during these quiet hours of movement and reflection some of the most profound understanding and enlightenment occur, for the Karate man.

In an era of music, expensive cars, endless ranges of entertainment, and recreation; our society has acquired excessive levels of wealth; this wealth is producing children who seek pleasure above work. In my day pleasure could be acquired by reading a book or learning; by experiment how something works. Today, children expect information to arrive completely digested, microwave heated, and entertaining. Work is replaced by knowledge and this knowledge is controlled by the media. The question remains: what kind of karate men are we creating?

Karate equalizes the imbalance created by information rich societies. There is no respecter of person within the art of karate. A kick is a kick, a punch is a punch, and a man is a man. Karate seeks to return man back to an appreciation of quietness, peace, and harmony. In contrast, information and knowledge of itself is not in harmony and represents: contradiction, conflict, and disrespect for nature. The study and observation of force and motion is blindly ignored. The study of the animals’ forms by the ancients brought an awareness to the karate man of his environment. Understanding and moving in accordance to the forces of nature were manifest through animals, such as the snake, crane, leopard, bear, tiger, and ram. Year after year the teacher shares knowledge of this animal like movement, but only after much thought does the student realize the importance his relationship to obstruction and seeks to harmonize the with the force and neutralize it. Warmth, an excitement for personal development, and wisdom were imparted by the teacher.

Karate is not about fighting, even though the principles of fighting are taught. Karate is more about the development of man. Some theorists believe karate was used to measure the physical and mental condition of the practitioner. Only by building a strong mind, spirit, and body could the true forces of karate be manifest. The true force exhibited crushing power at a touch; intense paralyzing pain to a joint, nerve, or muscle group; and projection through the invisible energy of Chi. Experience was respected because it was expected that the practitioners’ chi increased through constant application of karate over time. Quality was produced by constant repetition over time. Those who possess chi measured the capability of the opponent by the level of chi they perceived. It was expected most would not fight; if they believe the other person possessed greater chi.

Karate is not combat. It’s the study of force and motion. What about groundwork and grappling? Both are still the study of force. All possibilities are not explored within ones life; only a general guideline of harmony. One should seek to gain a passive opposition to violence. It is immoral to inflict cruelty, pain, and injury upon another human being. In all cases, if the possibility of survival against high injury cannot be avoided violence must be inflicted. The injury should be done with a focused and clear mind, so that the degree of injury is proportional to the threat.

In all cases, the defender mind should be open to the Holy Spirit. So, at the very moment the impressions from heaven can be drawn to ones defense. Karate makes no claims to possess all the endless techniques or philosophies of man only that the need for personal revelation is required in a conflict.

Suppose a woman or child is suddenly attacked, it is possible the power of God would replace their fear with strength. Rather than seeing a monster they see a contest of force. The loser possesses less understanding of the way of motion and force. The attacker could be repulse by such power and thought. Further more, the very intent of the attack can be perceived and a path of escape found. Silently the forms teach to find the path of escape. So the quiet meditative practices put the practitioner in touch with energy in his environment, the thoughts and intents of man, and the power of God. Karate should never seek to put man at the center of the universe. Rather Karate should open the windows of heaven to the infinite possibilities of motion.

By David Nishimoto

Morality guides the training of Kempo practitioners. Because the attitude of competition is removed from Kempo the training in done in a spirit of mutual cooperation. Masters share information with students to improve and close observed openings. In competitive environments the students must either pay for advanced information or be a part of the teacher’s inner circle. A certain degree of information is always withheld allowing one party to have an advantage over another. In Kempo, the assumption is the withdrawal of information creates imperfections. The goal of Kempo is to help the student obtain harmony, speed, power, perfection, and intrinsic energy. Kempo students practice in an partnership environment rather than an environment of opponent contention. The karate handshake and hug exemplify the good heart of the sharing.

In Kempo, the masters are always emphasizing the need for practice. Students must realize true learning does start until your exhausted from many hours of practice daily. Its during these times the movements are done without having to consciously think about them. The flow of energy and energy frequency creates a unique feeling. There was a reason the art flourished within the Shaolin Temples. Solitude and tranquility is a necessity to create the energy flow with the harassment of the interruption.

New movements become old movements and as natural as breathing. As the mind clears, divine inspiration to fills the void. Its during this period of time, enlightenment, innovation, and creativity exists within the individual. The insights are very stuble but the consequence have dramatic consequences. One insight, I realized after many hours of practice was the hidden strike is the one that knocks out the opponent. The half fist strike to the jaw proceeds around the opponents defense, it strikes without notice, and dislocates the jaw and traumatizes the neck.

The mind, body, and spirit integrating into one whole. If an student is in a fight, the process of response must be natural, direct, and relaxed. There is no right or wrong, only the process of the empty hand. The key word is empty. The mind must become empty. The reactions must have no pretext or assumption about their effectiveness. The range of motion will reveal itself, as the student feels the way, and responds. The feelings are quiet and the ability to listen to these feelings is the key. If a student must think about what the opponent is doing its to late. It they think that can smash them it the ground. Its more likely the intent will be revealed they end up getting smashed. For example, if an opponent is a boxer, thinking about the counter to a two hook punch, upper cut combination will result in a bad headache, the next day. The reaction may be an right outward crescent kick, left snap kick to the ribs; or a heel thrust to the knees, and a knee smash into the face of the opponent. The possibilities are really infinite and can only be expressed based on the experience and understanding of the practitioner.

What does it mean if the kempo student must hesitate during the performance of a maiming strike or a crushing kick to the groin, throat, or eyes? It means their morality is not good. The real question is why has the student engaged in such a dangerous activity. The danger itself forces a response. Not the other way around. The student does not force a response. It is not appropriate to second guess the response to real danger.

The first reaction in Kempo is to escape. Positioning away from the opponent is always a natural and prudent reaction. In nature, if you have the skill to approach a cat unnoticed and then scary it. The natural reaction of the cat is not to jump at your face. The reaction is leap away. If the cat is corner expect the claws and teeth of the cat, to cause injury. Kempo mastery of the art requires reactions to be deeply integrated into the individual. Perfection, is the uninhibited flow of motion. The three dimensional sphere around the individual is occupied with movement, energy, and flow. Nothing within in this sphere can become an obstacle. Kempo uses both the linear line and circle to strike directly or go around an obstacle presented by the opponent. The ability to project energy, listen to energy, and pure thought makes any obstacle a simple puzzle. I’ve observed how a snake fights. It remains coil and compressed ready to strike. Suppose, its fighting a cat, once the cat get in range; it strikes. The cat can be slashing at the snake, but its flexible enough to go around the strikes.

Its a myth that Kempo doesn’t use kicks. Kicking is an important part of self-defense. Its the long range weapon. Flexible and fast kicks are devastating. Kicks to the knees, groin, throat, head are all within easy execution and use. The mistake the kempo does not emphasis kicks comes from its consistent emphasis on the use of the continuous hands. The rule of Kempo is simple: the hands set up the leg strikes. Legs strikes provide the clearing technique.

So, creativity is the key to Kempo. The freestyle nature of the art allows the individual to use any and all motion. Morality restrains the individual from excessive force. Just enough force is required. However, extreme measures may be required. In those, circumstances the individual must decide to use intrinsic force to cause repairable damage. The effectiveness of Kempo is within the individual not the technique. This is the most awesome aspect of the art. All the techniques are of no value, and will seem weak and ineffective without the development of intrinsic power. The forms are dances, flow smoothly and with effort. Most martial systems of today pride themselves in their athletic prowess. They are fun to watch. If martial arts was about entertainment they will do fine. However, kempo practitioner must maintain the utmost commitment and dedication to their art. It is the concentrated and focused mind that learns to bring chi, into every punch. Intrinsic energy can be made to make the opponent feel heavy and weak. The striking capability with intrinsic energy does not require a wind up or a lot of body momentum. One to two inches more than enough to cause extreme damage. The strike starts with a physical motion, contact, the energy is already vibrating in the hand, the practitioner focus the vibration into the opponent after contact. Mental visualization, concentration, transfer the energy, and the effects go beyond anything most Martial Artist will ever understand. The key is the rooting of the body to the ground, years of continuous control of the energy in the hands, and the ability to move the intrinsic energy with the mind. Without this energy, Kempo would become another flashy and entertaining system to be toyed with. Critics would endlessly taunt the self-defense value of the art.

by David Nishimoto

Footwork provides the evasive qualities of kempo. A weight distribution of 50 percent between the front and back legs serves no purpose. Kempo uses a 60/40 distribution between the front and back leg. In a reverse cover the weight distribution of 40/60. A cat stance changes the weight to 20/80 between the front and back leg. The width of the stance is shoulder width. Wide stances reduce mobility and slow down response. The weight of the body is distributed on the ball of the foot. The heel maintains contact with the ground, but the weight move from the center of the foot to the ball of the foot.

Kempo Karate has an ancient form called “Sets” designed to teach the student lightness. The set works to create lightness throughout advancing and retreating movement, pivoting, and advancing and retreating stances with punches and kicks. The “Set” improves balance, coordination, and speed and encourages the student to focus on footwork. The cadence of the set is an eight count with portions of the set done in a half count. The last series in the “set” requires the practitioner to perform side step crossovers both front and in back. The feel of combat concentration and power is reveal by the “Set” to the student. The eight count is counted aloud in a robust manner and the students move in symmetry to the count.

The principles of the “Ancient Set” demonstrate how the feel can be used like a spring increasing speed. Basically, the foot is the spring to move the body forward or backward. As the tempo of the exercise is increased, the practitioner will expert a certain degree of lightness and greater mobility by applying this principle. Additionally, pivoting is doing on the ball of the foot and not the heel. After each pivot the individual returns to a kempo stance with a weight distribution of 60 percent on the front leg and 40 percent on the back leg. This stance is called a right or left cover stance.

One of the first movements taught to a student is called the right of left 45. The most dangerous part of a punch is at the end. So logical its better not to meet force with force, but to evade the income force. The diagonal 45 degree movement allows the practitioner either to move outside or inside dangerous force, while maintaining a counter strike distance. The movement along the diagonal can be either forward of back. Sometimes when moving in a backward diagonal, the opponent own movement is accelerated into the practitioner’s counter strike. This makes the counter strike more deadly because the opponent is helping compound the degree of injury. The 45 degree diagonal forms a triangular relationship between the individual and the opponent. The practitioner is put in the strongest possible position, and the opponent is in the weakest most vulnerable position. If the practitioner is inside or outside the vector of force, the greatest opportunities for throwing or controlling exist.

The next foot work exercise, is the half turn. The half turn rotates the body 90 degrees. It moves the body around the opponent. For example, the first half turn can be combined with a elbow strike to the ribs, the second movement extends a step into a right cover behind the opponent; and drops the opponent to the ground with twist pivot to a horse with the right forearm to upper body; the end result is the opponent falls over the practitioners right leg. The foot work – changes the position of the practitioner and puts the opponent in vulnerable positions where principles of leverage can be applied.

Torque is an important power principle in kempo. The cross behind stance allows the individual to spin 180 degrees into the opponent. The spin is done on the balls of the feet allow balance and speed to combine. Entry into the spin puts the individual into a weak stance. However, the element of surprise combined with the power of the circle reduced the chances of failure. Before a spin technique is engaged, its important to have stunned the opponent. Otherwise, the opponent could stop the spin by jamming at the back of the shoulder blade exposing: the spine, back of the knee, ribs, neck, and throat (body manipulation).

The fastest movement occurs along the outer perimeter of a circle. The end of the elbow follows an arch path along the outer perimeter of the circle, maximizing the force of impact. A followup chop compounds the damage of the elbow strike and provides the continuation of movement in the direction of the strike. The continuation makes kempo extremely dangerous.

Side to Side movement is not preferred in counter striking; however, side to side movement is excellent movement to open up the opponent for a grappling entry. Sometime side to side movement can be used to lure the opponent to kick. Once the kick is extended, entry for a take down becomes possible. The risk in side to side movement is the amount of body area exposed to the opponent. The horse stance or cover stances are preferred.

Light foot work, allows the practitioner to move inside the right range and outside the fight range. The ability to change remain light makes the hand and foot strikes appear effortless. Whether your at the center of the wheel or the perimeter it doesn’t matter. Understanding the dynamics of both positions should be at the heart of the practice. Sometimes it makes sense to be in the center, and sometimes it makes sense to be on the outside.

By David Nishimoto

The Kempo hammer strikes are often misunderstood. Most individuals think the purpose of the hammer strike is to smash soft tisues or break bones. Its is true in some cases the potential for this level of damage may be obtained, since some of the most powerful arm muscle combined with weight distribution and leverage can be summoned to generate incredible force on one area. The hammer strike is similar to the foot stomp. The opponent is in a very vulnerable position to defend against the weapon. The contact area is the bottom of the hand. The hand will seem rock hard on contact. Attackers will think twice after receiving a raining series of hammer strikes to their bodies. The hammer strike increases in momentum as both hands counter balance each other, so as one strikes the other hand withdraws. The hammer strike can be used both defensively and offensively. In the case, both offensive and defensive hammer strikes can be applied: for example a right inward block to a left punch, right hammer to the opp right collar bone, or horizontal hammer to the throat, or right hammer to the left side of the neck. The kempo hammer strikes are immediately taught to the beginner students. The ancient masters wanted new students to immediately value the hammer strikes of kempo as one of their choicest weapons.

Pattern 1 (smashing compression from a sideways horse stance)

1. (Opp) Right Punch (Counter) Left Outward block, step with right foot between Opp, Left hammer, Right inverted hammer strikes to the left and right side of the neck.

Analysis: The technique becomes more fatal as the strikes compress the neck muscles and artieries taking blood to the brain.

Pattern 2 (stretch and smash from a sideways horse stance)

1. (Opp) Left punch (Counter Right) Outward block, Right shuffle forward, Left vertical punch to the solar plexus, Left heel of the hand and claw from the left side of the Opp’s face, Right hammer to the side of the neck

Analysis: The left punch increases in power as the weight of the body moves behind the punch. The left heel of the hand and claw from the left side of the face stretches the left side neck muscles, increasing the damage produced from the right hammer strike to the neck.

Pattern 3 (cut and smash from a sideways horse stance)

1. (Opp) Left punch to the face (Counter) Right outward block, Left knife hand to the right side of the neck, right hammer to the left side of the neck.

Analysis: The left knife hand, cuts into the neck muscles, craps the muscles and potential seals the artiery. The right hand smashes (Opp’s) left neck muscles and traumatizes the spine.

Pattern 4 (inverted hammer to the groin from a regular horse stance)

1. (Opp) Steps in with a right club, step in with a two hand hammer block. (Counter) Right circular hammer to the groin, right backfist to the temple.

Analysis: The two hand hammer block neutralizes opp motion. The left hammer strike open opp left hand. The left hammer strike can bruise the opp to the bone, and potentially break the arm. The right hammer traumatizes opp right shoulder. The right elbow can be extend during contain increase the damage to the sternum and soft tissue regions. The circular hammer to the groin moves the opponent backward and starts him falling. The right backfist stuns and disorients the opponent.

Pattern 5 (hammer strike combined with footwork)

1. (Opp) Right grab to the left lapel. (Counter) Step back into a left cover, right hammer to the opponents right bicept, right hammer to the groin, right backfist to the temple

Analysis: Kempo can be applied using footwork to make the art less lethal. The hands turn from fatal blows, to the empty hands of mercy. In this case, the foot work works move you away from opponent. The hammer strike to the bicept generates an incredible amount of pain instanteously to the opponent. The hammer strikes stings the groin and temple regions of the opponent. The elogation of the arm and back fist creates a whip like motion similar to cracking a whip. The focus area becomes a pinpoint region. The amount of power can be controlled to prevent lethal consequences, but is available if the circumstances dictate.

In short, the kempo hammer is one the most prized weapons of kempo. In a real confrontation, I’d used the hammer strike because of its effectiviness and the assurance that it will smash anything it touches will feel the rock hard consequences of the strike. If situation allows, footwork and power control permits the hammer strikes to be used to sting the opponent rather than smash the opponent. The governing moral force is the martial virtues believed to be threatened or maintained. Peace and security may be maintained without making the hands lethal.

By David Nishimoto

The only way to generate chi energy into jing is to be in state of enlightment, love, and confidence. The divine receiption of this love and enlightment must be strong. It is easily perceivable through through the eyes. Love is the light that radiates generates jing power in such a way that it can be felt over a distance. On one such occassion, I was demonstrating the relationship between chi and jing and how to generate jing by summoning chi to a student. I felt an unusual excitement and enthusiam about demonstrating this concept. The energy tunneled at him, and he attempted to resist the energy flow, he exclaimed and shook his hand in pain. Obviously feeling a sharp pain. I realized the more chi that could be summon the great the jing force. Once rooted and connected to light great amounts of energy can be projected.

The expression of jing is a conscience choice. One can be content in the accumulation of chi. Chi can accumulate strengthen the inner self. The result is a deep sense of balance, satisfication, and health. That is not to say that chi can not be transformed at will into power. The highest goal is to desire to be filled full of love and have no compelling need to attack against aggression. Peace and harmony dictate the way we act. Actions must seek to return to an equilbrium or to a state of peace and harmony. This spiritual discipline is developed through correct martial art’s training and practice. Portions of love and enlightment are manifested during training. Martial art training without the desire to experience light and love is meaningless. The desire to achieve enlightenment and love comes through self discipline and focus. One can learn from the martial art movements themselves gaining insight and understanding into the profoundness of life. It is the desire to live in peace and harmony that creates the greatest fullifillment for a martial artist. By believing in this goal, it becomes easy to practice daily and for long periods of time and without the need to compete for a victory. The time spent is not punishment but an effort to achieve higher planes of spiritual awareness.

There may come a time, you are confronted by a person who does not have light in their eyes. Their eyes may seem cold and devoid of light and love. It is their personal envy, jealousy, and covetness with make them feel empty. They can create a piercing and shocking sensation. Don’t become angry maintain stronger love. Love your enemies is more powerful than hate them that dispise you. Internally, if you main love and enlightment the amount of available chi energy available will increase. Mental control of Jing will become available if there is any real physical danger with the effects being devasting. The internal vibration is the secret to kempo. This power can be projected and felt over a distance. Maintain soft eyes, focus, and love in your heart. Don’t yield to fear or anger. Seek to return to a state of peace and harmony. Eventually, this person will need to be helped before its to late. Hopefully you will believe “Peace law” is far more powerful than “fist law”.