ACADEMY OF SELF DEFENSE AND KARATE
FAMILY TREE
Down Line of Ranking:
CHINESE HERITAGE:
Shaolin Kung Fu as far back as 21 B.C. It is believed to be back as far as 2500 B.C. Some say 1500 B.C. There is no proof of the time….
JAPANESE HERITAGE:
37 CHINESE KENPI (QUAN FA) FIGHTERS MIGRATE TO THE OKINAWAN ISLANDS & JAPAN.
ZENKO from 1185 A.D. to 1863. The documentation was not kept or was lost on all of these years.
FROM TRACY’S WEB SITE
Our Japanese Kenpo/Kempo heritage and lineage is that of the powerful Yoshida Clan
last updated 04/26/02 07:40:35 PM
Since its introduction to Japan from China in the early 1200’s, “Kenpo/Kosho” has always been a Family Art. Passed down through 20 generations of Yoshida “Great Grand Masters”!
James M. Mitose (1916-1983) was the son of Kiyoka (Yoshida) Mitose and Otokichi Mitose. James M. Mitose was the first Great Grand Master of Kenpo/Kempo/Kosho, not to bear the name of Yoshida! Click here for a short biography of James M. Mitose for a better understanding
The Yoshida’s are an ancient royal Japanese Warrior family that goes back as far as recorded Japanese history. The Original “Yoshida” family name was Urabe – They took the name Yoshida from the famous castle by that name they once owned. Not only were the Yoshida’s a powerfully Samurai warrior family but they exercised great control over the “Shinto Religion” – the official and ancient religion of Japan. Shinto literally means “way of the Gods!
The Yoshida’s were warrior lords (bushi) and along with their immense number of military retainers (samurai) were part of an important base of Japanese culture and civilization for over 800 years.
The Yoshida’s were also daimyo or great lords. To be considered a “daimyo” you had to have land holding of at least 10,000 *kyku.They also had major control of the “Shinto” religion and with it large armies to protect the holding of the church. This combined with their own land holding gave them large armies to be used to fight upon the side of the “Shogun” when he needed their support. It was because of this support that they became the first retainers of the famous “Yoshida”** castle built in the 1500’s. The Yoshida’s also had a great deal of influence with the “Emperor” who the Japanese believe is directly descended from the Gods.
*kyku – was the standard measurement for wealth – which for 1500 years was measured in the rice yield. a “Kyku” is about five bushels of rice – or, the amount of rice need to feed one adult male for a year!
In the middle part of the 13th century, Zengo Yoshida, a prominent member of the Yoshida clan would embrace the “Rinzai” sect of Zen Buddhism and eventually this branch of the Yoshida family would build their own “family” Zen temple on Mt. Kinkai. The warrior monks of the Rinzai sect in China would also bring with them the unarmed Martial Arts of the Shaolin temple: Kenpo/Kempo/Kosho!
For the next 800 years the Yoshidas would take the “war arts” of the Shaolin Temple, along with Zen and assimilate and blend them into the Japanese culture. They would be become part of the “Code of Bushido” by which every Samurai lived.
For over 800 years Zen and Shintoism would co-exist as compatible religions with priests from both religions meeting in the same building and performing similar religious function. That would come to an end with the overthrow of the Shogun (1185-1863) and the “Meiji revolution: would once again restore power and control to the royal family where the “Emperor” was accepted as a God.
With the Emperor and the Shinto religion now in full control of Japan – the Yoshida’s who never gave up their control of Shintoism once again held a great deal of power and influence with the new Emperor and new government!
The Japanese lineage of Kenpo starts with Zenko Yoshida. He would become the first important Yoshida to embrace the Rinzai sect of Zen.
1st Kosho/Kenpo/Kempo grand master: Zenko Yoshida (1232-1297) approx.
followed by 18 more generations of Yoshida (Rinzai) grand masters!
Female blood members of the Yoshida Clan were also taught the family art of Kosho/Kenpo. The Yoshida children stared studying at the age of five. This would be true of James Mitose and his sisters.
Our modern history of Kenpo starts at this point:
19th Great Grand Master of Kenpo/Kosho -Jiroku Yoshida (1818-1890)
20th Great Grand Master of Kenpo/Kosho – Sukuhei Yoshida (1853-1936).
Sukuhei Yoshida was the father of Kiyoko Yoshida (1890-1943/44), and the Grand Father (and teacher) of Masayoshi Mitose: (James).
Kiyoko (Yoshida) Mitose was the only daughter of Sukuhei Yoshida. There was also one older son.
Kiyoko was the mother of James (Masayoshi) Mitose.
21st Great Grand Master of Kenpo/Kosho
- Masayoshi Mitose (James)
KENPO FOR THE FIRST TIME WAS INTRODUCED TO The U.S. (Territory of Hawaii)
February 7, 1937 Masayoshi Mitose brings 800 years of Kosho/Kenpo heritage to Hawaii.
The Kenpo/Kosho heritage of James M. Mitose is the heritage of the Family of all Kenpo based styles.
Kosho Shorei Ryu Kenpo JuJutsu
The Yoshida clan in Japan developed Kosho Shorei Ryu circa 1235 AD. This system of fighting was taught both to the monks on the nearby temple of Mount Kinkai and to his samurai as a means of defense in the case of their disarmament. The title Kosho Shorei Ryu means “Old Pine Tree Style” symbolising the many roots that the school has. Kosho Shorei Ryu is made up of two arts: Kenpo (Fist Law) and JuJutsu (Gentle Art). This system covers all aspects of combat from unarmed (kicks, punches, locks, throws etc) to weapon arts (knife, staff, sword spear etc.)
It is considered one of the oldest ryu around today and is one of the most complete systems of fighting available. Through Kosho Shorei Ryu students learn unarmed combat, Kata, philosophy and history of the art and classical weaponry and tactics.
The Bodhisattva Warriors
by Shifu Nagaboshi Tomio
published 1994 by Samuel Weiser, Inc.
page XIX
“The art of Chuan Fa is what the media often (and incorrectly) calls Kung Fu. Proper Chuan Fa embodies a tradition from which most of the significant schools of Karate, Tae Kwon Do, Thai Boxing and other “martial arts” have developed their technique. It is also a vision of human potential that is desperately needed in modern times. Chuan Fa teachings have directly influenced — and may have, indeed, created — the Japanese Art called Jiu Jitsu, from which Judo came, and via this, the art of Aikido.”
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Fist
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Ken
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Chuan
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Law
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Po
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Fa
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China
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Kara
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Tang
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Hand
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Te
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Shou
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No Matter in which language, English – Japanese or Mandarin Chinese, one pronounces the characters on the left they still convey the same concept. The martial art that we practice at Tracy’s Karate Studios began in India among the royal Warriors 1000 years before Bodhidharma, a 28th generation Buddha, introduced what was to be later inappropriately named Kung Fu among the Chinese monks in their temples. Kung Fu is only a term that describes one’s most skilled abilities, e.g. a lawyer’s kung fu is his practice of law, a carpenter’s kung fu is working with wood and its related projects, etc. Kung Fu is not a style of martial art. Ask any individual of oriental descent if they study kung fu and they may not understand what you mean. From India to China and then into the islands of Japan and Okinawa and beyond, kenpo is a system of martial arts not a style. A system is an integrated whole whereas a style is only a portion of a system; however, each style may be a micro-system within itself.
Kenpo is a Japanese art of self-defense that was brought from China to Japan about 700 years ago by the Yoshida clan. The word means literally, “Fist Law,” and one who practices Kenpo (literally a boxer of the Boxer Rebellion) is a Kenpi. The Chinese style was well suited to defend against the various unarmed Japanese martial arts of the 13th century, and few modifications were required to overcome the new unarmed systems that developed over the next 7 centuries. During this same period the Chinese system from which Kenpo was derived underwent so many changes that, while most of the Kenpo techniques can be found scattered among the hundreds of Chinese fighting systems, there is no single system in China today that resembles Kenpo.
75 years ago Kenpo was so well known as an effective fighting art in Japan that many Japanese styles that had no connection with Kenpo claimed their art was derived from the Yoshida Kenpo. Some even went so far as to claim their masters had been training directly under Chinese kenpo masters. Similar claims have continued to this day, even though there has not been a Chinese kenpo master for centuries.
Kenpo came to Hawaii, shortly after the turn of the century, when a Grand Master of Kenpo, Kiyoka Yoshida, was sent to the Islands by her family, to marry Otokichi Mitose. In 1920 Kiyoka sent her 3 year old son, James Mitose, back to Japan to be raised by her parents. There he studied Kenpo and became the first Mitose to Master his mother’s family art of Kenpo. He returned to Hawaii only after his father’s death in 1937. After the Japanese attack of Pearl Harbor, James Mitose began openly teaching what he called Kenpo Jiu Jitsu and continued to teach until his retirement in 1953. One of Mitose’s top students was “Willy” Chow, who became his second black belt and Assistant Instructor. In the spring of 1949 “Professor William K. S. Chow” opened his own Kenpo club and coined the term “Kenpo Karate” to distinguish his system from Mitose’s, even though the two systems were virtually identical.
Ed Parker was a student of Professor Chow in Hawaii, and was the pioneer of Kenpo to the Mainland. The system of Original Kenpo he taught in Pasadena, California from 1956 to 1960 was the same as that taught by Mitose and Chow. In 1961 Ed Parker and Chinese Kung Fu Master, James Wing Woo, co-founded Traditional Kenpo, and the master of those two systems was Ed Parker’s first black belt, James Ibrao, and it was under Ed Parker and Jimmy Ibrao that the Tracy brothers learned Kenpo.
When karate began its rise to popularity in the mid 1960s, Tracy’s dominated the tournament scene and over the years nearly 80% of the world-class Kenpo fighters had trained under the Tracy system. Because of this, and the practicality of Kenpo in real fights, it has developed such a reputation that many martial artists, including Tae Kwon Do instructors, now claim they teach Kenpo, even though they do not.
So what makes Kenpo so effective? First, Kenpo is not stylized, but incorporates the moves of kung fu, Jiu Jitsu and karate into a systematic system. Second, Kenpo has always recognized the difference between “avoidable fights” and being “attacked”, and has based its theories on the aphorisms of the great Chinese General Sun Tzu, that you win the fight when you do not have to fight, and most fights are avoidable. This is expressed in the Code of Yoshida:
“I come to you with only open hands.
Other weapons, I have not,
But should Right or Honor require it,
My hands will bear me out.”
As the name Jiu Jitsu implies, the techniques of Kenpo were designed for close range. This follows the two observable principles of unavoidable defense against an unarmed attacker:
(1) 80% of all attacks begin with the attacker grabbing you;
(2) Nearly all other attacks begin with the attacker at close quarters.
While it is popular for movies and television to have long, drawn-out fights in which dozens of kicks and punches are delivered, those fights are as phony as the long drawn-out movie fights that preceded the martial arts. They are pure fantasy. The fact remains that most attacks begins with a grab, and Kenpo Jiu Jitsu, has a counter for every imaginable grab. These counters can range from simple escapes to joint locks and breaks, followed by restraints or disabling strikes. Likewise, since most other attacks are punches or strikes, Kenpo employs counters that utilize blocks, or strikes, joint and nerve strikes locks and breaks.
And the important thing to know is that Kenpo, as it was originally taught in this country, is as effective today as it was in 1942, and it is an art which can be learned by nearly everyone.
The following Documentation is of great historical importance to any Kenpo / Kempo
historian.
THE TEXT BOOK
of
JU-JUTSU
as
PRACTICED IN JAPAN
by S. K. UYENISHI
This JU-JUTSU book was written when all of this information was current.
Kempo was a well known and established killing art!
In 1878 the new Japanese government eliminated two traditions: first they eliminated the Samurai as a class and outlawed their wearing of swords and at the same time …… (KEMPO) was declared an illegal practice when the sanctity of human life was recognized under the new regime. Prior to this time the Samurai had the power of life and death over anyone of less rank. If they thought a commoner or peasant had offended them in anyway, they could kill that person with complete immunity.
For those of you who saw the TV show Shogun there is a classic example. In one of the opening scenes peasant does not properly bow to a Samurai – for this offense the offended Samurai draws his sword and beheads the offender. Wiping his blade of the blood he continued on his way.
This JU-JUTSU book also indicates that at this historical period Kempo was a well known (Deadly – Killing art). Also the Japanese were well aware of its Chinese origin. During this period in Japan’s history they were trying to eliminate as many foreign influences as possible. At this same time they also outlawed the various sects of Zen and Buddhism and once again established “Shinto” with the emperor being a “God” as the official religion of Japan.
THE TEXT BOOK
of
JU-JUTSU
as
PRACTICED IN JAPAN
by S. K. UYENISHI
Click on each image for full size picture
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This is the cover of the book
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This is the fourth edition. Must have been a popular book back then
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THE TEXT-BOOK
of
JU-JUTSU
As Practiced in Japan
Being a simple treatise on the
Japanese Method of Self Defense
By S. K. UYENISHI
(Raku)
Instructor to the following Colleges in Japan
Riku-gun yo-nan gako (The Military College for Officers)
Tai-iku-kai (The Imperial Military College of Physical Training
Shi-han-gako (The School of Instructors)
Jun sa kio-shun sho (The Police Training School)
All Government Schools in Osaka
and to
The Army Gymnastic Staff Head Quarters Gymnasium, Aldershot
With a Word Portrait of the Author by Percy Londhurst*
Fourth Edition
LONDON:
ATHLETIC PUBLICATIONS LTD.
324 Gray’s Inn Road, London, W.C. I
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| As you can see, the author S. K. UYENISHI has very impressive credentials. His father Kichibe Uyenishi was also a great Ju-Jutsu instructor and practitioner. The father of the author was alive during this turbulent period (1867-1899) of Japanese (and Martial Arts) history were the old feudal system of Japan was replaced by the Meiji regime. |
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This is page 15 – this is the important page!
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Grandmaster Al Tracy has added color to some of the main points.
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INTRODUCTION
One of the styles alluded to, known as the Kempo, which may be roughly described as a Method of killing people, possessed many points of resemblance to Ju-jutsu but was totally different in practice, being a system of self-defense against sudden attack with intent to kill and replying thereto in kind. It was certainly more closely related to ju-jutsu than are Boxing (even under the old Prize Ring rules) or le savate to Wrestling. It might perhaps be best compared to that very strenuous old Greek Physical Contest, which was known as the Pancration. By-the-way, I may here remark on the possible derivation of the old English phrase “Kempery man” and the Anglo-Saxon cempa, signifying “a warrior,” from the Japanese Kempo. This is a point which should not be without interest to etymologists, and particularly to those who follow the late Professor Max Muller in his theory of the Indo-Germanic origin of the Anglo-Saxon Race.
Kempo, of course, was a system of attack and defense which branched off from ju-jutsu into the paths of strenuous endeavor, but, apart from the fact that it was less scientific than, ju-jutsu, it was declared an illegal practice when the sanctity of human life was recognized under the new regime.
Another analogous system, known as tori in some parts of Japan and as shime in others, was an extension of ju-jutsu in, the department of ground work, and it is more than possible that many of the locks and holds of ju-jutsu were originated by exponents of tori. The last named system cannot, however, be compared with the “soft art” as a method of self-defense, as but slight importance was devoted to “throws,” the modus operandi being mainly confined to falling to the ground yourself
©2000 Al Tracy all rights reserved – updated Monday, March 06, 2000
What is Kenpo? Kenpo is a modern Martial Art that has roots going back into China in the 13-1400’s. It was the family style of the Yoshida Clan on Kyushu Island in those times. During the Meiji Restoration, it was outlawed as being too dangerous for a modern country like Japan was going to become. Thus, it went underground and was taught only to a few people. It remained secret until the early 1900’s, when, for political reasons, it was taught to an outsider named Mitose, an Okinawan name. James Mitose retained the old system of deadly combat. What he passed on to William Chow is uncertain, but we know Chow updated it to the standards of today and ensured that it retain its deadly skills for life and death combat.
1st Kosho/Kenpo/Kempo grand master: Zenko Yoshida (1232-1297) approx.
followed by 18 more generations of Yoshida (Rinzai) grand masters.
Our modern Kenpo Karate Family Tree
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Jiroku Yoshida
(1818-1890)
19th Great Grand Master of Kenpo |
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Sukuhei Yoshida
(1853-1936)
20th Great Grand Master of Kenpo |
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James Masayoshi Mitose
(1916-1983)
21st Great Grand Master of Kenpo |
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William Kwai-Sun Chow
(1914-1987)
Professor
Kara-Ho Kenpo |
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Edmund Kealoha Parker
(1931-1990)
Senior Grand Master – Judanr
American Kenpo |
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James Ibrao
Great Grand Master – Judan
Jun Bao Wu Shu Kung Fu
Ed Parker – American Kenpo
SENIOR GRAND MASTER under ED PARKER
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Al Tracy
Grand Master – Judanr
Tracy’s Kenpo Karate |
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Richard Lee
A.K.A. Richard Cuvelier
Grand Master – Judan
Bok Fu Do
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Mark Vanderpool
Yondan
Bok Fu Kenpo
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Rhuel Luttrell
Judan – Si Gung
Bok Fu Quan Fa Chi-Na Wu Shu Kung Fu
Judan – Soke
Original Kenpo Karate Jui Jitsu
Hachidan
Shotokan
Judan
Combat Cane
8th Degree Black Belt – Si Gung
Wu Shu Kung Fu
Yondan
Tora Ni Tsuita Self Defense Combat Judo
Yondan
Kodokan Judo
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Our Japanese heritage starts with Zenko Yoshida (Approx. 1235) This would establish the Yoshida clan’s tie to the Renzai sect of Zen and Kenpo/Kempo/Kosho
There were 18 Generations of Yoshida Kenpo/Kempo/Kosho Great Grand Masters whose lineage would also come through the Renzai (Zen) sect. The Yoshidas would eventually build their own family (Renzai) temple on Mt. Kinkai. Each generation passed on its knowledge to the next Yoshida Blood line. Yoshida Females were also taught the complete system. At any given time there might be the Great Grand Master, and several Grand Masters. It was not uncommon for many of the Great Grand Masters to simply pass their authority to the next in line. They would give up their “worldly position”, retire to a Zen mountain temple and devote the remaining years of their lives as “Zen Priests” taking all the full vows of priesthood.
(There is a misconception that the lineage was passed down through the priests – priests do no marry so there is no bloodline through which it can be passed on.
Sukuhei Yoshida was the father of Kiyoko Yoshida (1890-1943), and the Grand Father (and teacher) of Masayoshi Mitose (James)
WEB SITES:
22nd Great Grand Master – Thomas B. Mitose www.kosho-ryu.com
William Chow – Kara-Ho Kempo www.blendedkenpo.com & www.karaho.com
This is our Japanese Heritage
Ed Parker – Grand Master 10th Degree American Kenpo www.edparkerjr
Shodan – Kenpo, Kara-te & Jui Jitsu (INTERNATIONAL SELF DEFENSE
CLUB) Professor William K.S. Chow dated June 5, 1953
Al Tracy – Grand Master 10th Degree Chinese Kenpo (QUAN FA) www.tracyskarate.com
Richard (Lee) Cuvelier – Grand Master 10th Degree under Tracy System www.bokfudo.com
Mark Vanderpool – 4th Degree under Richard Cuvelier
Rhuel Luttrell ** 10th Degree (Judan)
BATSUGUN ORIGINAL KENPO KARATE -JUI JITSU. (BOK FU QUAN FA CHI-NA)
MARTIAL ARTS TITLES: Doctorates of Martial Arts Philosophy & Martial Arts
Science, Ph.D./ Ma.D.Sc from the University of
Asian Martial Arts Studies.
Si Gung, Soke, Grand Master, Professor, Judan,
BOK FU QUAN FA CHI-NA (WU SHU KUNG FU)
Translation
Bok Fu translates to White Tiger. Quan Fa translates to Law Of The Fist. Chi-Na translates to Seize and Control. Wu Shu translates to Martial Arts Kung Fu translates to Skill or Ability.
BOK FU (CHINESE KENPO) QUAN FA (JUI JITSU) CHI-NA is a Chinese style of self defense. BOK FU (CHINESE KENPO) QUAN FA (JUI JITSU) CHI-NA uses softer more flowing techniques than does the American Kenpo, which is very similar in look and has some of the same self defense techniques. Ed Parker’s, American Kenpo changed 90% of the self defense techniques to fit his environment. The Quan Fa practitioner uses the attackers own strength and momentum against him. It utilizes striking points on the body that do not require much power in order to disable a much larger attacker. Quan Fa is excellent for improving grace and balance.
KenSho WuShu adds ( Chi ) power after the flowing immobilizing techniques of QUAN FA to have a more conclusive ending, followed with ( Chin-Na ) seize and control, joint locks, Judo throws, grappling and submission techniques to completely disable your attacker. Most of the kicking skills of KenSho WuShu have been developed out of the Richard Lee Bok Fu Kenpoand I have added the ( Chi ) dynamics of power for a much harder kick. The kicking skills of Bok Fu Kenpo are out of the Korean styles of Kwons. I have also added many kicks to the KenSho WuShu style.
In conclusion, the art of KenSho WuShu uses the flowing techniques of ( Quan Fa ), the dynamics of hard style Japanese Karate ( Kosho ), kicks ( Kwon ), seize and control, joint locks ( Chin-Na), throws ( Judo ), grappling ( Jui Jitsu ) and creating ( Chi ), which is a Chinese method of creating power within the different muscle groups and is not noticeable while applying techniques.
The ( Chi ) power is called inner strength. The inner strength or ( Chi )comes from the lower stomach and has been said to cure all ailments and to give amazing power, unnoticeable to the naked eye. I prefer to call this dynamics as we all have this within us and all we have to do is apply our techniques with the dynamics as practiced in the techniques as I have demonstrated so many times. Although we don’t call this Chi, we consider it the same concept. I personally don’t buy the theory of super strength by gathering your Chi for unbelievable feats. Personally, I think the gathering of muscle groups is where the unseen power is generated. This is my opinion, not necessarily the opinion of others.
What I have said in this article is to make you more aware of the differences of styles, if you were to be asked by an outsider to explain them.
The bottom line is Bok Fu Quan Fa Chi-Na (Jui Jitsu) Wu Shu Kung Fu, Shotokan, Wu Shu Kung Fu, Kuoshou Sanshou and Combat Cane is available independently or jointly.
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Kerri Luttrell Original Kenpo Karate Jui Jitsu
C. L. Bergeron 8th Degree
Bryan Miller 5th Degree
Richard Criger
Jerry Williams 4th Degree & Kuoshu Sanshou 4th Degree
Matt Petty
Kris Hollingsworth 2nd Degree
Dean Knight
Ryan Jones ** 5th Degree & Kuoshu Sanshou
Ed Robinson ** 3rd Degree & Kuoshu Sanshou
Rob Freiburger ** 4th Degree & Kuoshu Sanshou
4th Degree – Original Kenpo Karate – Jui Jitsu
Tim Green ** 3rd Degree & Kuoshu Sanshou
Ray Davis
Josiah Reynolds 2nd Degree
Kyle Russell ** 3rd Degree Disciple # 1 & Kuoshu Sanshou, Original Kenpo Karate-
Jui Jitsu
Mark Reynolds 2nd Degree Kuoshu Sanshou
Troy Holton 7th Degree Kuoshu Sanshou
Richard Scott – 10th Degree, (JUDAN) Original Kenpo Karate – Jui Jitsu
Gideon Reynolds
Benjamin Reynolds
Jeremiah Reynolds
Deon Moser** 2nd Degree & Kuoshu Sanshou
Nino Gray **
Darrell Wilson 2nd Degree
Andrew Strout ** 2nd Degree
Dave Morizot 6th Degree
Bill Struble 2nd Degree
Jason Silva ** 2nd Degree & Kuoshu Sanshou
Sean Rader 2nd Degree & Kuoshu Sanshou
Cliff Bridges** 2nd Degree
Cordale Moore ** & Kuoshou Sanshou
Nathan Metcalf **
Clarence Stevens ** & Kuoshou Sanshou
Dennis Lea
Chase Payne – Original Kenpo Karate – Jui Jitsu & Kuoshou Sanshou
Reece Borchers
Dustin Baker
Dave Sullins – ** & Kuoshou Sanshou
Vince Stevens – Kuoshou Sanshou
Myka Johnson – Wu Shu Kung Fu
Matt Schaeffer – Kuoshou Sanshou
Jim Mathis
Jim Flynn – Original Kenpo Karate – Jui Jitsu
VISIT: www.kenponet.com for Kenpo – Kempo lineage
** Represents Jun Bao Wu Shu under Great Grand Master James Ibrao and Grand Master Ed Parker www.thebelt.com
** Represents Grand Master James Wing Woo www.jameswingwoo.com Ibrao’s Instructor.
INTRODUCTION
KenSho WuShu Gung Fu
Consisting of Bok Fu (QUAN FA) Kenpo (CHI-NA) Jui Jitsu, Wu Shu Kung Fu, KuoShou SanShou Kung Fu, Shotokan, Kodokan Judo, Tora Ni Tsuita Self Defense Combat Judo, Combat Cane, Kick Boxing, M.M.A., Kick Boxing, Boxing, Grappling.
Shotokan Down Line of Ranking:
On the Kosho Side:
About 1600…
SAKUGAWA
An expert from Okinawa
who had travelled in China
1664
KO SHO KUN
A Chinese Expert
AN EXPERT FROM SOUTH CHINA who came to Okinawa
Name unknown
IWAH
GUSUKUMA Chinese Military Attaché
Okinawa
SOSHU MATSUMURA
Okinawa
ANKO ITOSU ANKO AZATO
Okinawa Okinawa
1868 – 1957
GICHIN FUNAKOSHI
From Okinawa, introduced
karate to Japan in 1922
TSUTOMU OHSHIMA
From Japan, introduced
karate to the USA in 1955
SHOTOKAN KARATE OF AMERICA 1956
FRANCE SHOTOKAN KARATE 1964
SUISSE SHOTOKAN KARATE 1977
Ko Sho Kun – Chinese Expert who came to Okinawa in 1664
Iwah – Chinese Military Attache
Soshu Matsumura – Okinawan came from Sakugawa (Okinawan who traveled to China to master Karate)
Yatasune Azato – Shuri-te Kempo
Gichin Funakoshi brought Karate from Okinawa to Japan in 1922
OTHER SIDE:
Southern Chinese Expert ( name unknown )
Gusukuma – Okinawan
Anko Itosu – Okinawan
Gichin Funakoshi brought Karate from Okinawa to Japan in 1922
Master Funakoshi’s Karate
The History and Development of the Empty Hand Art
Part II
by Graham Noble
If you look through karate histories you will often read that Gichin Funakoshi combined two styles of karate, Shorin and Shorei, to form his own system. This has been repeated so many times that it is almost established as a historical fact — but it is not really correct. The first recorded use of the terms Shorin and Shorei was by Ankoh Itosu in his “Ten Teachings” of 1908. Itosu wrote: “In olden times two styles of karate, called Shorin and Shorei, came from China. We consider that both have distinct advantages and should not be altered or combined.” The origins of the terms are unclear but it’s a good guess that Shorin refers to the Shaolin Monastery and its style of boxing. (“Shorin” is the Japanese pronunciation of Shaolin). Shaolin ch’uan had been famous for centuries and no doubt something of this fame had spread to Okinawa, which had strong links with China. Even so, Itosu could only have been generally aware of Shaolin because he used an incorrect character in writing the name.
“Shorei” is more problematical. Some writers have stated that this refers to a temple in China, but this is not backed up by any research. As far as we know there is no mention of a Shorei temple anywhere in the literature of Chinese boxing. I am inclined to accept Kenji Tokitsu’s theory that “Shorei” was originally a mispronunciation of “Shorin” which then became identified with a certain style of karate. Ankoh Itosu did not give any details or description of the two schools of karate but it is generally agreed that Shorin referred to the style practised in Shuri (Shuri-te), and Shorei to the style of Naha (Naha-te). Shuri-te was developed into the modern Okinawan Shorin-ryu styles, and Naha-te evolved into Goju-ryu. Fourteen years or so after Itosu wrote his precepts Gichin Funakoshi supplied a definition of Shorin and Shorei in his book “Ryukyu Kempo Karate.” He wrote:
“We have many ryu-gi (schools) in Okinawa under the direction of many different teachers, but basically there are only two ryu. They are Shorin-ryu and Shorei-ryu. Shorei-ryu is supposed to be fitted for the bigger man while Shorin-ryu suits the smaller, lighter man. Each of these ryu has its strengths and weaknesses, but fundamentally Shorei-ryu’s fault is its lack of mobility, and Shorin-ryu, though it is light and fast, lacks the power of Shorei-ryu. Those who study Karate must be aware of the strengths and weaknesses of each style.”
Some experts doubt the validity of Funakoshi’s division but as a description of two tendencies in karate it seems fair enough. However, Funakoshi then applied his classification to each of the 15 kata he brought to Japan. They were split as follows, (the modern Shotokan names are given in brackets):
Shorin: The 5 “Pinan” (“Heian”), ” Kushanku” (“Kankudai”), and “Passai” (“Bassai”).
Shorei: The 3 “Naihanchi” (“Tekki”), “Seisan” (“Hangetsu”), “Wanshu” (“Empi”), “Chinto” (“Gankaku”), “Jitte”, and “Jion.”
Funakoshi’s general idea can be seen. Kata with varied technique and covering a wide area, such as “Kushanku” were classified as Shorin. Those with more forceful movements, such as “Seisan” and “Jitte” were then described as Shorei. Even so it is difficult to see why “Passai” and “Wanshu” say, should be put in opposite categories. Basically, the classification was arbitrary and Funakoshi himself sometimes seems to have been confused. For example, the classification of “Chinto” seems odd since it is a kata characterized by mobility and balance, and in his second book (1925) Funakoshi reclassified it as Shorin. (Or maybe it was just a misprint in the first book).
The important point is that Funakoshi’s categorization did not follow the usual one of equating Shorin-ryu with Shuri-te and Shorei-ryu with Naha-te. Funakoshi never studied Naha-te and in fact all the 15 kata he classified came from Shuri-te. Thus he never, as has often been asserted, combined two styles of karate in creating his own method. If anyone did that it was Kenwa Mabuni who taught all the kata of both Shuri-te ad Naha-te in his Shito-ryu.
Although a few kata fit clearly into Funakoshi’ categorization — Goju’s “Sanchin” and “Seiunchin” would be Shorei, and “Chinto” and “Kushanku” Shorin — I’m not sure it means a great deal today, and it can be misleading. It is probably best taken as a description of the two main tendencies in karate training — a stress on power, or on speed and mobility. Funakoshi’s advice would then be, not to over-rely on one particular aspect, but to combine the best elements of each approach.
Gichin Funakoshi was a man of moderate behaviour, someone who made few enemies. Yet there were people he found it difficult to get along with, Choki Motobu for example. I don’t know if there was a particular reason for this, but basically Funakoshi and Motobu were contrasting personalities with different views of what karate was and how it should be practised. Funakoshi believed in correct behaviour and was interested in the study of literature. Motobu, although he came from Okinawa’s upper classes was rough natured and (possibly) illiterate. And where Funakoshi was always striving to make karate a “Do” with Motobu it remained essentially a jutsu. The Motobus were a high ranking family in Okinawa but Motobu’s tastes were those of the lower orders. He loved to fight and as a youth it was his ambition to become the strongest man on the island. A lot of his time was spent in the red light district picking fights and consorting with prostitutes.
Choki Motobu studied karate with three main experts: Ankoh Itosu, Kosaku Matsumora, and Sakuma. His favourite kata was “Naihanchi” (Shodan) and since this used to be the first kata taught by Itosu it suggests that Motobu did not get very far into Itosu’s Shuri-te. The same may apply to Matsumora and Sakuma. I get the impression that Motobu would try and get what he could from these teachers but he was not the kind of person to remain a faithful student for years, learning one kata after another. His primary interest was the effectiveness of karate technique and his aim was to learn whatever would make him a stronger fighter. This is not to say that he lacked application or intelligence because in many respects his karate was more practical and advanced than his contemporaries. He thought a great deal about fighting techniques and trained daily; to a large degree he was a self-made karateman.
One of Choki Motobu’s claims to fame was that he once beat a boxer in a challenge match. The story of that bout has been told in an earlier issue of F.A.I., and without going into the whys and wherefores Motobu showed the effectiveness of his style at the age of fifty. His main strength was in his fast hand techniques but he was adept also at delivering direct kicks to the opponent’s knees and groin during fighting. Motobu would often restrain the opponent’s hands, or control his body when delivering counterattacks, and all in all his style provided an effective method of self defence. He can now be seen as one of the early pioneers of kumite. Gichin Funakoshi is often given the credit for introducing kumite training to karate, sometime in the 1920s, yet in 1926 Motobu published a book entitled “Ryukyu Kempo Karatejutsu, Kumitehen” and the study of kumite — that is, the application of techniques against an opponent — had formed the basis of his style for many years previously.
Unlike Gichin Funakoshi he was not a kata enthusiast and his uncompromising emphasis on application led him to criticise Funakoshi’s karate. There is a story in “Nihon Budo Taikei” (a Japanese encyclopaedia of Budo) about a meeting between the two men at Yasuhiro Konishi’s dojo in 1929. Hironori Ohtsuka was also present. Motobu had with him a strong young 4th dan judoka, and no doubt in an attempt to put Funakoshi down, he arranged a little test in which the judoka took a firm hold on his (Funakoshi’s) collar and sleeve. “Now,” he said to Funakoshi, “you are so proud of your basic kata, show me what value they have in this situation. Do what you wish to escape.”
As Kenji Tokitsu (who translated this account for the French magazine “Bushido”) observed, this was a somewhat ridiculous demonstration since it opposed a small, sixty year old karate teacher against a bigger, stronger, and younger judoka. Moreover, it immediately put Funakoshi at a disadvantage by allowing the judoka to take hold at the outset. To his credit, Funakoshi went ahead and tried to disengage himself with soto-uke and uchi-uke (outside and inside forearm blocks). This had no effect and he was lifted up and thrown against the wall of the dojo. Motobu then encouraged Ohtsuka to try. Ohtsuka had trained in jujutsu from his youth and was able to throw the judoka without too much difficulty.
That is the story. How much truth there is in it I have no idea, but it doesn’t show Motobu in too good a light. And maybe we shouldn’t feel too sorry for Funakoshi, because in a way he had the last laugh. His teachings formed the basis of one of the major modern karate styles and his followers today number in the tens of thousands, all over the world. In contrast when Motobu returned to Okinawa in 1939 his Japanese group collapsed. When he died a few years later he left almost nothing behind him.
Choki Motobu was generally correct in saying that Funakoshi’s original (1920s) style overemphasized kata and neglected kumite, although since kumite development was then in its infancy that was probably true of most karate training of the period. However, by the next decade, with an influx of fresh blood and new training methods this imbalance was largely corrected. Motobu had his own, strongly reasoned views, but he failed to appreciate the underlying strengths of Funakoshi’s karate or its appeal to many people. Like Funakoshi, Motobu once had a karate club at Waseda University. However, the students found his training methods — work on kumite techniques and repetition of “Naihanchi” kata — too limited and the club lasted only two or three years. Shotokan has always been able to keep the three elements of karate training — kihon, kata, and kumite — in balance and I think there must have been something in Funakoshi’s teaching that led to its successful growth. Although essentially conservative its structure was such that it was able to incorporate new developments in the art and spread worldwide. In contrast, although Motobu had many valuable insights his legacy is limited to a few techniques and influences in other styles. My impression is that Choki Motobu’s style was essentially a personal way of using karate techniques, something he had developed over the years and which arose out of his own unique experience and no-nonsense approach to the art. This personal character enabled him to apply techniques in a natural forceful way in combat, but at the same time made it difficult for him to pass on a “system” to pupils — who anyway may have lacked his temperament, ability, and particular mind for martial arts. Motobu is in many ways an attractive figure, but judged historically Gichin Funakoshi’s style showed the greater potential for development, and in terms of popularity soon outstripped the Motobu school.
I believe Funakoshi had some kind of disagreement too with Kanken Toyama when Toyama began teaching in Tokyo, though I have no details on this. With the founder of Shito-ryu, Kenwa Mabuni however, I imagine he was on good terms. In many ways the two men thought alike. Even if there had been any potential for disagreement Mabuni lived some distance away in Osaka so the two pursued their separate paths. Kenwa Mabuni was born in 1889 in Shuri, Okinawa. He was a weak child but he was inspired to become strong by stories of his ancestor Keiyu Oshiro, who had been a famous warrior many generations back.
Mabuni began karate training with Shuri-te’s Ankoh Itosu at the age of 13, and later, when he was 20 he was introduced by his friend Chojun Miyagi to Naha-te’s Kanryo Higaonna. After he graduated from school and finished his national service, Mabuni joined the Police Force and eventually became a police inspector. All this time he continued his study of martial arts and the travelling involved in his police work allowed him to study with other experts such as Aragaki and the kobudo weapons experts Tawada and Soeishi. Mabuni Sensei often used to say that his karate training had been useful in his work as a policeman, but unfortunately we don’t seem to have any examples of this. No doubt it gave him confidence in carrying out his duties and helped in restraining or arresting suspects.
Kenwa Mabuni’s son Kenei wrote, “In his younger days many people would challenge my father to ‘kake-dameshi’ (challenge match, or exchange of techniques) after they heard that he was practicing te. He accepted these challenges and would choose a quiet corner of the town for the match. Each contestant would bring a second. There were no special dojo like there are today; we used to train and fight on open ground. There was no street lighting so after dark we used to fight the challenge matches by the light of lanterns. In this dim light the contestants fought, and then after a period the seconds would intervene and stop the fight. They would then declare who was the winner and who needed more training. Such challenges were often made to my father, and he frequently acted as a second at others. He pointed out though that people might easily get a wrong impression from these events.”
Kenwa Mabuni recalled, “A young man taught himself to fight independently — he had no sensei for this. He attempted to prove himself by challenging many famous sensei. Of course these sensei all refused his challenge. So he returned home feeling proud that even famous teachers were afraid of him. He did not understand that they refused for his sake!”
Mabuni taught karate in his garden and also at the Okinawa Police School and Okinawa School for Fishing. He was also one of the karate experts involved with the Okinawa Karate Kenkyukai (Karate Study Group), established in 1918, and the Okinawa Karate Club, a few years later.
In 1928 Mabuni Sensei moved to Japan and settled in Osaka. Presumably his wish to devote his time to budo — he once wrote a poem containing the line “Nothing in my mind, except to row to the Island of Bu” — could not be satisfied in Okinawa and this was why he moved to Japan with its long, deep tradition of martial arts. He may also have been encouraged by judo founder, Jigoro Kano. In 1927 there was a conference in Okinawa for judo yudansha (black belt holders), attended by Kano. Mabuni and Chojun Miyagi demonstrated and explained the kata of karate, and afterwards Kano told them how he had enjoyed their performance. He expressed the opinion that such an excellent budo should be spread throughout Japan. Kenei Mabuni believed that it was this conversation which persuaded his father to make the move to the Japanese mainland.
He established his dojo at Nishinari in Osaka and later named his style Shito-ryu. In choosing this name Mabuni commemorated his two teachers Itosu and Higaonna. The characters for Itosu’s name can also be read Shi-shu and for Higaonna’s, To-on-na, so Mabuni took the first character of each name to give “Shi-to.”
I have always liked the appearance of Kenwa Mabuni’s kata; of all the experts of that time he seems to me to have the best style. His techniques are neither too long nor too short, and although his form is always correct, at the same time it remains easy and natural, without the exaggerated attention to form we often see today.
People like Hironori Ohtsuka and Yasuhiro Konishi regarded Mabuni as exceptionally knowledgeable in kata. He certainly knew a very large number of kata and could demonstrate them in good form and in this respect he may have been the leading kata expert of the day. He was perhaps unique in teaching the full range of both Shuri and Naha kata. The Shuri kata he could have learned direct from Itosu. As for the Naha-te kata, he certainly studied with Kanryo Higaonna but I think a lot of instruction must have come from his friend and senior Chojun Miyagi. Some Goju-ryu sensei have said that Mabuni did not complete the full Naha-te system with Higaonna (perhaps because of periods of ill health), but the real give away is that Mabuni’s kata follow so closely the Miyagi style. (The kata of Higaonna’s other senior student Chuhatsu Kyoda show certain differences). Mabuni also taught kata, such as “Tensho,” which we know were created by Miyagi.
What is clear is that Mabuni Sensei had a love of karate technique. Not only did he fully research Shuri-te and Naha-te but he also trained in Kobudo (traditional or old budo) and studied the te of Master Aragaki, an expert about whom we know almost nothing except that he taught three kata “Niseishi” (“Nijushiho”), “Sochin,” and “Unsu”. I am not sure about this but it may have been through Mabuni that these kata entered the mainstream of modern karate. That is certainly the case with the “Nipaipo” kata now sometimes seen at karate tournaments. (It is the special kata of Wuko Womens’ World Kata Champion Mie Nakayama). Although this is now modified from its original Chinese form, Mabuni learned this kata from the White Crane expert Go Ken-kin, a Chinese who made his living as a tea trader in Naha.
Mabuni must have passed on his love of kata to his students because study of kata remains something of a speciality in today’s Shito-ryu dojo. Chojiro Tani in his work “Tani-ha Shito-ryu Mokuroku no-Kata” lists 45 kata in his school, and Ryusho Sakagami in “Karate-do Kata Taikan” (1977) details a selection (not all his kata are included) of 38. Sakagami in fact has brought in more traditional kata such as “Matsumura Passai” and “Ishimine Passai” to further enlarge his teaching. Mabuni sensei died in 1952. His students included his son Kenei, Manzo Iwata, Kosei Kokuba, Ryusho Sakagami, Chojiro Tani, Ken Sakeo, Kangei Uechi, Takeshi Ueno, Ryusei Tomoyose, Teishin Tsujikawa and Muneomi Sawayama.
Hironori Ohtsuka, the founder of Wado-ryu, was not exactly a student of Mabuni, but he did get some instruction from him. This was mostly in the “Pinan” kata, and the Wado-ryu and Shito-ryu “Pinan” are quite similar. I think Ohtsuka also learned something from Choki Motobu since there are similarities o Motobu’s style in certain Wado hand positions and blocking techniques. Some of the Wado-ryu “Naihanchi” kata is said to come from Motobu although going by photographs, the two versions of the kata are not identical.
However, by far the larger part of Ohtsuka’s karate instruction came from Gichin Funakoshi. He was one of Funakoshi’s first students, back in 1922, and acted as one of his assistant instructors throughout the 1920s. Ohtsuka had been aware of karate for some time and planned to visit Okinawa to research the art when he heard of Gichin Funakoshi’s demonstration of June 1922. He looked up Funakoshi at the Meisojuku and found him “Surprisingly open and frank, innocent even.” Ohtsuka was fascinated by Funakoshi’s description of karate and resolved to master the art. Funakoshi explained that he taught 15 kata of karate and that it would take someone 5 years to learn them. However, he added, a person with previous martial arts experience could expect to learn the kata in a year and a half.
That “year and a half” sounds a little odd, considering that Funakoshi always said kata was a lifelong study, and once wrote that he had spent 10 years working on the three “Naihanchi.” Probably he meant that the kata could be learned (but not mastered) within that timescale. He may also have realised that the pace of learning would have to be speeded up in Japan. Whatever the reason, it seems that Ohtsuka did learn the kata within a couple of years and became an important assistant to Funakoshi as the latter expanded his teaching.
Hironori Ohtsuka was 30 years old when he began studying karate. That was rather a late start but he was able to pick the art up quickly because he himself was an expert in martial arts; only a year before he had received his teaching licence in Shindo Yoshin-ryu Jujutsu, an art he had begun studying at 13 under Tatsusaburo Nakayama.
Ohtsuka’s first couple of years with Funakoshi would have been spent in learning the karate kata but once he gained a measure of proficiency in the art he began to look a little deeper. Initially he had seen something in karate — a comprehensive system of striking and blocking — that was generally lacking in Japanese budo, but inevitably his experience in those budo led him to think of ways in which karate technique might be developed or enhanced. He had an independent mind and a long-standing ambition to make his living as a martial arts instructor, so a parting of the ways with Funakoshi was always in the cards. Yasuhiro Konishi remembered an occasion at the Meisojuku when Funakoshi remonstrated with Ohtsuka in front of the students for introducing certain jujutsu elements into the training. From an early point too Ohtsuka began to think of ways of introducing more kumite into the art, and especially something like the randori (freeplay) of judo. Ohtsuka had probably worked out the larger part of his ideas by the late ’20s but the split with Funakoshi didn’t occur until 1930/31. In 1934 his teaching was recognized as a separate karate style (“The Dai Nippon Karate-do Shinko Club,” according to “Wado World–magazine”), although the name “Wadoryu” was not registered with the Butokukai until 1939.
Actually, I’m not too sure on the exact dates of the Funakoshi/Ohtsuka split. It may not have been as abrupt as we tend to think, and the two men seemed to remain on speaking terms. There are many photographs of Ohtsuka demonstrating techniques in Funakoshi’s 1935 edition of “Kyohan” (although of course we don’t know when these were taken) and Ohtsuka is in a group photograph of karate experts taken at Funakoshi’s house, dated 1935.
Mitsusuke Harada had heard stories that it was actually Yoshitaka Funakoshi who had expelled Ohtsuka from the Shotokan group. On a recent (1987) trip to Japan he asked about this and was told the background information. It seems that Hironori Ohtsuka, while within Funakoshi’s group, was always trying to go his own way and introduce his own ideas to the teaching. This was not appreciated by many of Funakoshi’s followers. Ohtsuka did break away, but the break was not clean. Gichin Funakoshi himself would not expel Ohtsuka, mainly because he did not want to cause any unpleasantness. If he met Ohtsuka he would still greet him and talk to him.
Unfortunately, this only built up more resentment among Funakoshi’s followers, and Genshin Hironishi told Yoshitaka that for the good of the Shotokan group Ohtsuka should be expelled. Thus it was that Yoshitaka forced Ohtsuka out. I believe this may have been the time that Yoshitaka replaced Ohtsuka as instructor at Waseda Karate Club. Harada Sensei explained to me that he had thought deeply about this, and he stressed that Yoshitaka did this, not because of any personal animosity towards Hironori Ohtsuka, but because it had to be done to preserve group unity. Harada said that he himself realised the problems of just such a situation when a split occurred in his own Shotokai organization — and a similar clean break had to be made.
Ohtsuka kept the kata he had learned from Gichin Funakoshi but made certain changes. The “Pinan” showed Mabuni’s influence and Ohtsuka added his own ideas to all the kata. For example the chudan (middle area level) inside and knife-hand blocks of Funakoshi’s kata appear as jodan (upper-level) blocks in the Wado forms. The Wado-ryu kata differ from the modern Shotokan forms in having a lighter, less forceful appearance. In some respects the techniques of the kata are quite close to Funakoshi’s original (early 1920s) method, but I think that most of the distinctive, economical character of the Wado forms must have come from Ohtsuka. He believed in fast, economical movements which avoid a direct clash of forces. There is a story that following a demonstration around 1924/5 Ohtsuka’s reputation began to exceed Funakoshi’s at least in some quarters. If true this can partly be explained by the age difference — Funakoshi would have been almost sixty and partly because Ohtsuka showed a style of movement that other Japanese experts could appreciate. Such opinions are subjective and, for what it’s worth, my own view is different. Going from photographs of the two men I prefer Funakoshi’s kata to Ohtsuka’s.
Although “Pinan,” “Naihanchi” and the other traditional kata were transmitted to Ohtsuka, his own ideas are better represented by the set of kihon kumite techniques he created. These could be considered the “kata” of Wado-ryu in fact. Ohtsuka originally devised 24 of these kumite forms but over the years this was whittled down to the 10 now practiced. In their principles of distancing, timing, taisabaki (body evasion), and simultaneous parry and counter, they show Ohtsuka’s approach clearly: flexibility, technique, and body movement rather than a reliance of physical force. Ohtsuka himself was of slim build and this was probably one reason why he always placed technique above force
A while ago, when I had the chance to talk to Tatsuo Suzuki he told me of a shiai (contest) he remembered from years ago. It was between Wado-ryu and a group of Tatsuo Yamada students. Yamada was a tough-guy type of karate teacher who stressed body conditioning and hard technique. As the two groups faced each other the Yamada students took off their gi jackets to reveal powerful, muscular torsos. When the Wado fighters saw this they grew apprehensive. Yet as the first round of matches progressed one Yamada student after another was knocked down or knocked out. (These were the old days of Kokan-geiko). When the second round of fights was due to begin none of the Yamada group came forward.
Nakayama
Takikuki Mekami
O’Sensei, Rod Prejean, Lake Charles Karate School – Hachidan Grand Master
C. L. Bergeron Roku Dan and Hachi Dan in Wu Shu Kung Fu
Rhuel Luttrell ** Soke Hachi Dan 8th Degree
Troy Holton – Roku Dan High Master
Ryan Jones ** Godan Master
John Walsh – Sandan
Randy Blanchard – Sandan
Rozana Garrison – Yondan Sensei
Lee Hollingsworth – Nidan
Jerry Williams – Yondan Sensei
John Issacks – Nidan
Carl Hopkins – Shodan
Brandt Wiskur – Shodan
Randy Mayfield – Sandan
Casey Graham – Shodan
Colin McKarry – Shodan
Nancy Gallagher – Nidan
Craig Henson – Shodan
Nathan Gallagher – Shodan
Andrew Clark – Junior Shodan
Clay Clark- Junior Shodan
Kris Hollingsworth - Nidan
James Jenkins Jr. – Nidan
Tim Green ** Sandan
Robbie Freiberger – ** Sandan
Ralph Hinkle – Shodan
Tracey Harper – Shodan
Phil Meyers – Sandan
Kyle Gregory – Nidan
Luke Zimmerman – Nidan
Josh Mount – Shodan
Alexandria Mount – Shodan
Kyle Russell – ** Nidan
Reece Borchers – Nidan
Cliff Bridges – ** Nidan
Dustin Baker – Nidan
Richard Jenkins – Shodan
Cordale Moore – ** Shodan
David Breedlove – Shodan
Leon Moore – Shodan
Brian Stevens – Shodan
** Represents, KenSho WuShu under Rhuel Luttrell
Jun Bao Wu Shu Kung Fu Down Line of Ranking
James Wing Woo: Grand Master under Woo Hung Gar Kung Fu
Great Grand Master, James Ibrao: www.thebelt.com = web site for history of the Art.
Also Great Grand Master ranking under the Ed Parker American Kenpo System. www.geocities.com = web site for history of the art also under www.tracyskarate.com, under the American Kenpo.
Rhuel Luttrell Si Gung Grand Master or Teacher Of Teachers
8th Degree Black Belt in Wu Shu Kung Fu by O’Sensei Porter
Ryan Jones 5th Degree
Ed Robinson 3rd Degree
Tim Green 3rd Degree
Robbie Freiburger 3rd Degree
Kyle Russell 2nd Degree
Deon Moser 2nd Degree
Andrew Strout 2nd Degree
Michael Evert
Cliff Bridges 2nd Degree
Cordale Moore
Jason Silva 2nd Degree
Nathan Metcalf
Clarence Stevens
Dave Sullins
Myka Johnson
KenSho WuShu Gung Fu
This system incorporates Grand Master James Mitose’s Kosho Ryu Kempo – Jui Jitsu, Kodokan Judo, Kuoshu Sanshou Gung Fu Combat Fighting, Grand Master Al Tracy’s system of Chinese Kenpo, Grand Master Richard Lee’s Bok Fu Kenpo , Grand Master James Ibrao’s Jun Bao Wu Shu Kung Fu, Chinese Combat Cane, Shotokan,&Tora Ni Tsuita Self Defense Combat Judo. Also incorporated into this system are the many Kicks out of the Korean Kwon Systems .
RHUEL LUTTRELL RANKINGS UNDER O’SENSEI PORTER’S UNITED STATES MARTIAL ARTS ASSOCIATION:
JUDAN 10th DEGREE BLACK BELT – KENPO KARATE JUI JITSU
HACHIDAN 8th DEGREE BLACK BELT – BOK FU QUAN FA CHI-NA WU SHU KUNG FU
HACHIDAN 8th DEGREE BLACK BELT – SHOTOKAN
HACHIDAN 8th DEGREE BLACK BELT – WU SHU KUNG FU
YONDAN 4th DEGREE BLACK BELT – JUDO
RHUEL LUTTRELL HALL OF FAME INDUCTIONS:
2002 UNITED STATES MARTIAL ARTS HALL OF FAME (CALE) FOUNDER OF THE YEAR
2002 UNITED STATES MARTIAL ARTS ASSOCIATION HALL OF FAME (O’SENSEI PORTER) FOUNDER OF THE YEAR
2008 UNITED STATES MARTIAL ARTS HALL OF FAME (CALE) LIFE TIME ACHIEVEMENT AWARD
2008 ALLIANCE – USA MARTIAL ARTS “HALL OF FAME” (ROBERT TRIAS ) SOKE (GRAND MASTER) OF THE YEAR
RYAN JONES RANKINGS UNDER UNITED STATES MARTIAL ARTS ASSOCIATION:
SHODAN 1st DEGREE BLACK BELT – JUDO
COMBAT CANE TECHNOLOGY:
Okinawan Shorin-Ryu Karate-Do Kyokai Cho (Kobayashi-Ryu-Tuse Ryu Jutsu Kenpo
This system incorporates the following cane technology from these countries:
China-Okinawa-Japan-Phillipine Islands-Korea-America
Cane System Fighting
(W.A.C.W.) Worldwide Association of Cane Warriors (T.M.)
(Freindship Fraternity)
Members in all 50 states and territories along with members of 8 foreign countries:
Richard Scott: Judan 10th Degree Grand Master (Founder and Director)
Rhuel Luttrell: Professor 10th Degree (Arkansas State Representative-Headmaster)
Wayne Carman: Professor 10th Degree (Missouri State Representative-Headmaster)
Rod Prejean: Professor 10th Degree (Louisiana State Representative-Headmaster)
C. L. Bergeron: Professor 9th Degree (Pennsylvania State Representative-Headmaster)
Henry Rudalph: 8th Degree Assoc. Prof. (Utah State Representative-Seniormaster)
Greg Lee Milon: 8th Degree Assoc. Prof. (Texas State Representative-Seniormaster)
SFC Charles D. Scott: 7th Degree Assoc. Prof. (State of Georgia-Practicalmaster)
Troy Holton: 7th Degree Assoc. Prof. (State of Arkansas-Practicalmaster)
Jeffrey D. Scott: 5th Degree (Master of the Art-State of Ark.-M.A.- Novicemaster)
Bryan Miller: 5th Degree (Master of the Art-State of Ark.-M.A. Novicemaster)
Deon Moser: 2nd Degree (Instructor of the Art-I.A.)
Kris Hollingsworth: 2nd Degree (Instructor of the Art-I.A.)
Christopher L. Scott: 2nd Degree (Instructor of the Art-I.A.)
Jerry Williams: 4th Degree (Master of the Art-State of Ark. MA Novicemaster)
Membership totals 3113 Fraternity Brothers
In Memory of
(Memoriam)
Professor/Grandmaster 10th Degree (honorable mention) Norman Murray State of New York 2007 (81Years)
Professor/Grandmaster 10th Degree (honorable mention) Kenny Ubanks State of Kentucky. 2007 (64 years)
DOSHI NO KAI
(JUDO)
North Central Arkansas Judo Club
Mr. Jack Treat (U.S. Judo Black Belt Assoc.) N.C.A.J.C.
Dr. Rhuel Luttrell (Board Of Directors – Yondan Black Belt Judo) N.C.A.J.C.
Master Troy Holton (Sr. Master – Black Belt Judo) N.C.A.J.C.
Prof. Richard O. (Ricky) Scott ( Godan Black Belt Judo) N.C.A.J.C.
TORA NI TSUITA SELF DEFENSE COMBAT JUDO CLUB
Dr. Rhuel Luttrell (Board Of Directors) Yondan Black Belt Judo) N.C.A.J.C.
Prof. Richard O. (Ricky) Scott )Godan Black Belt Judo) N.C.A.J.C.
Ryan (Tank) Jones (Board Of Directors) Shodan- Tora Ni Tsuita Self Defense Combat Judo)
Master Troy Holton {Sr. Master – Black Belt Judo ) N.C.A.J.C.
KODOKAN JUDO
Dr. Rhuel Luttrell 4th Dan Kodokan Judo
