2

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Published by Tuttle Publishing, an imprint of Periplus
Editions (HK) Ltd., with editorial offices at 364 Innovation
Drive, North Clarendon, Vermont 05759 U.S.A. and at 61 Tai
Seng Avenue #02-12, Singapore 534167.

Copyright © 2010 Jeff Driscoll.

All rights reserved. No part of this publication may be

reproduced or utilized in any form or by any means,
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or by any information storage and retrieval system, without
prior written permission from the publisher.

Instructional photos by Linda Mullins

Japan photos by Jeff Driscoll

Shaka in photos by Alexzander Warasta
Mizu no kokoru kanji by Cindy Jutras.
Budo kanji by Michael Brown

Library of Congress Cataloging-in-Publication Data

Driscoll, Jeff.
Ultimate kempo: the spirit and technique of kosho ryu / Jeff
Driscoll.
p. cm.

ISBN: 978-1-4629-1447-0 (ebook)

1. Kung fu. I. Title.

GV1114.7.D75 2010

796.815’9--dc22

5
2009030881

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7
8
Contents

Dedication

Foreword

CHAPTER ONE
What is Kosho Shorei Ryu Kempo?

CHAPTER TWO
The Objective

CHAPTER THREE
What is the Martial Way?

CHAPTER FOUR
The Sho Chiku Bai Crest

CHAPTER FIVE
The Octagon

CHAPTER SIX
Concepts of Study

CHAPTER SEVEN
Escaping

CHAPTER EIGHT
Blocking

9
CHAPTER NINE
Joint Locking

CHAPTER TEN
Throwing

CHAPTER ELEVEN
Striking

CHAPTER TWELVE
Kata

CHAPTER THIRTEEN
Pressure Points

Conclusion

Acknowledgements

About the Author

10
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12
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15
Dedication

This book is dedicated to two very special teachers, Thomas

and Barbara Driscoll. I am very thankful to have two of the
most wonderful parents any son could hope for. They taught
me many things throughout the years.

They taught me to be kind and compassionate towards other

people. They taught me that hard work and having goals and
dreams defines a successful person. But most of all, they
taught me to have respect for all that I come in contact with.
Respect seems to have become a forgotten quality these days.
For all that you’ve done, and all the incredibly important
lessons you’ve taught me, I thank you. I love you, Mom and
Dad.

This book is also dedicated to the memory of

Thomas Mayer 1939-2007

16
Every once in a while, someone comes into your life for only
a short time, but leaves a dramatic impact. Thomas was that
type of person. He was one of the most courageous,
intelligent, and insightful people, that I have had the pleasure
to meet and spend time with.

I miss you, Thomas.

Jeff Driscoll

17
Foreword

Iam very honored to be writing the foreword to this text. The

reader of this book will gain a better understanding and
insight into its author and his experiences in the arts. Jeff is
the eternal student. He makes great sacrifice in his journey to
attain knowledge and understanding of these arts. Pay special
attention to his writing on “Budo.”

There are many misconceptions in the arts regarding “Budo”

and what it truly is. By reading this text you will understand
its true meaning. “Budo” is not represented just in the actions
of a man; it is his spirit.

Based on his experience and study of a variety of arts,

Driscoll Sensei has reached a high level of accomplishment in
many ways. You will see which arts he has gravitated to and
you will understand why. He chose to explore arts that
matched his spirit, strength, and passion and those that were
well suited to him as a practitioner that is why he has been so
successful. Not all arts are right for everyone. Driscoll Sensei
has chosen well and knows the way of the warrior.

Bruce Juchnik, Hanshi

18
19
CHAPTER 1

What is Kosho Shorei Ryu Kempo?

Philosophy

Kosho literally means “old pine tree.” Shorei translates as

“school of encouragement.” A traditional ryu is a school of
thought pertaining to an art form. The origins of Kosho
Shorei Ryu as we know it today stems from the meditations
of a Japanese Buddhist priest named Kosho Bosatsu. This
name, literally translated, means “Old Pine Tree Buddha.”
This is a general name that sheds little light on the true
identity of the man. But the name is less important than the
result of his meditations.

Around the year 1235 AD, this priest meditated under an old
pine tree. As a priest, his Buddhist studies taught him
pacifism, which were an apparent contradiction to the
destructive arts in which he was also trained. It was this
contradiction that caused him to seek a place where he could

20
meditate. As many monks before him, he chose the old pine
tree where, it was believed, the spirit of the Buddha had fled.

Entrance to Temple Grounds

Temple Grounds Sign

21
View of some of the 3333 steps

Temple Gateway

It was during this period of meditation that he was

enlightened. The revelation led to his discovery of universal
laws and natural principles pertaining to our existence and the
resolution of conflict. The Sei Kosho Shorei Kai International
encourages students to move toward this same enlightenment
through studying natural law.

22
Kempo means “Fist Law.” This is the Kosho Shorei Ryu form
of martial arts; but it is much more than the law of the fist.
The predecessors of Kempo are Chuan Fa, in China, and
before that Vajra Mukti in India. Kempo’s philosophy is to
study and understand man’s relationship with nature.

Kempo is the study of natural law pertaining to mankind.

Kempo does not just deal with the physical arts; it also deals
with the spiritual side of oneself, and mankind’s
understanding of itself.

Gateway Close Up

Entrance to Main Temple Building

23
Traditionally, Kempo students have studied much more than
the physical martial arts. They also study philosophical
classics, including the I Ching: the Book of Changes. They
study the five elements and the In and Yo (Yin and Yang in
Chinese). They understand the principle of balance, and how
one can, through understanding balance, exist harmoniously
with the whole of mankind. Within their own realm, in their
own reality, they learn how to adjust their reality, behavior, or
physical presence within others’ perception of reality.
Primarily, they study themselves: Body, mind, and spirit. This
microcosm leads to the understanding of all things.

Kempo, therefore means study, and practice, and the

discipline of study and practice. The understanding of this
philosophy, the embodiment of this practice, and the reality of
this study prepares the Kempo-ka for possible conflict. In this
study, defending one’s self becomes very easy.

Kosho is a way of life and an understanding of the process of

life. Understanding the process of a fight is the key.
Techniques used in a fight are only a small part of that
process. What happens before that point is of primary
importance.

Kosho Ryu warrior-monks and other practitioners have used

the study, and the practical application of this study,
successfully throughout history. In the late 1500’s, 5,000
samurai attacked Shaka-In, the temple grounds on which the
now-famous old pine tree still stands. Using Kosho Shorei
Ryu Kempo, the 400 monks living and training there engaged
in combat against the onslaught, successfully protecting some
of the most important artifacts and property of the temple
grounds, including the famous old pine tree itself.

24
The martial prowess of the Kosho Shorei monks was well
known among the Japanese at the time, and was feared by
many Daimyo as well as their swordsmen. It was the practice
of this philosophy of study that gave the monks their edge.
This philosophy was adopted by many of Japan’s greatest and
most famous swordsmen, including Musashi Miyamoto.

The success of Kosho Ryu today is apparent in the large

numbers of students and teachers gravitating to these studies.
Many teachers with decades of experience are reexamining
their training based on the uniqueness and startling pertinence
of what they see in a Kosho Ryu seminar.

Many of these teachers and students have said that the

combat-effectiveness of Kosho is simply at a higher level
than anything they had seen previously. Yet, Kosho Ryu
concepts had often never even been considered in their
previous training.

Kosho Ryu was brought to Hawaii and therefore to the United

States in the 1940’s by James Mitose.

The philosophical teachings, which were largely ignored by

many of Mitose Sensei’s early students, (with the notable
exception of the late Thomas Young) play a major role in the
manifestation of the physical combative arts of Kosho Ryu.
Without them, true understanding of Kempo is not possible.
Kempo is not a martial art–It is much more.

25
James Mitose (center) and his 6 Black Belts.

Look for Similarities

The Kosho Ryu practitioner studies natural law. In so doing,

he has the ability to see similarities in all movement.
Therefore he holds no prejudice toward or against other styles
or martial systems. Kosho Ryu practitioners understand that
the only real differences between martial arts pertain to the
cultures from which they come. Cultures produce various
tendencies that shape the way arts are taught. Although
teaching methods are delivery modes for the understanding of
the essence of an art, the arts themselves are very similar.
Bruce Juchnik Hanshi is well qualified to make a statement
such as this. He holds mastery-level knowledge and
certification in over ten distinct martial art forms.

26
Temple Grounds Map

27
Kosho Shorei Ryu Kempo originated in Japan. To
practitioners, Kosho Ryu’s Chinese roots are apparent in its
basic philosophy. Because Kosho teaches them to look for
similarities, they see no substantial difference between Kosho
and studies from Korea, Indonesia, China, or America.

All human beings move basically the same way. All motion is
related. The same emotions are experienced by all of
mankind. Fundamentally, human beings are similar,
throughout continents, cultures, and time.

Natural Law

The study of physics is only part of the understanding of

Natural Law. Kosho Ryu Kempo-ka also studies the natural
laws of our basic individual philosophy. One can understand
the physics of both our internal and external structures.

28
Students seek to understand who they are as they relate to
others based upon their past experiences and prejudices.

Body movement changes, much like personalities change,

based on an individual’s momentary and long-term mind-sets
and their physical prejudices. Understanding that both they
themselves and potential adversaries are governed by these
natural laws. Kempo-ka apply a great many strategies to
handle potential conflicts successfully. This is what makes it
possible to defeat an opponent without throwing a blow. In
fact, it is possible to defeat an opponent by strategically
manipulating his ki (mind set in this case). These are based on
an understanding of his prejudices, in such a way as to make
him decide to never attack you in the first place! Psychology
is physics applied to the mind.

Objective

The objective of the Kosho Ryu Kempo-ka is to be able to

relate to everything, abandon prejudices, and thus rid conflict
from life. Conflict is usually created from differences of
opinion pertaining to physical or philosophical prejudices.
Once you eliminate conflict (emotional or physical) and
understand laws and principles, you learn to see yourself as
the root of all of your conflict.

Once the source of conflict is known, it can be eliminated.

Happiness is the result. Kempo-ka become content, able to
harmonize with and accept life’s events, and able to control
their environment. Once you learn to control yourself and
your environment, controlling or redirecting an attacker is
possible as well.

29
The View From the Summit

Kempo

While Kempo literally translates from Japanese as “Fist

Law,” its meaning can be traced back to what is called the
mudra, which are hand postures. Each of kempo’s hand
postures represent both the physical and the spiritual realm.
These realms are inexorably linked. Kempo itself is an entity.
It is not a style of martial arts or a form of techniques.

Yet this is a difficult concept to understand and therefore in

our society today it is, unfortunately, largely looked upon as a
martial art.

James Mitose Sensei, explained that Kempo is a philosophy.

Mitose brought Kosho Shorei Ryu Kempo from Japan to the
United States as a philosophy of growth, of study, and of
struggle. The martial arts become simple, even self-evident,
through understanding the process of these three elements.

Within Kosho Ryu Kempo, there are many sub-arts of study.

The purpose of the study of various different art forms is to
learn to see the similarities in all of them. Three general

30
categories of study are the healing arts, the cultural arts, and
the martial arts. All three are interwoven.

The study of healing arts helps the martial artist understand

anatomical strengths and weaknesses as well as the natural
flow of energy and how that energy might be directed. In turn
the martial arts help the healer better understand the practical
application through the study of movement.

The cultural arts play a similar role. Included in the cultural

arts is the study of history or densho, an important element in
both the martial and healing arts. Language is also studied
from all perspectives. The study of the Japanese language
creates the ability in the disciplined student of Kosho Ryu to
understand the history and cultures of other people. This in
turn ties in with the philosophy of looking for similarities,
eliminating prejudice and conflict, and creating happiness and
peace in their lives.

31
Each of the many sub-arts of study in Kosho Ryu eventually
intertwines. Aruki waza, for instance, which is a combative
technique involving proper posturing toward an opponent in
Bujutsu, is also utilized in the studies of swordsmanship,
shodo (ancient Japanese brush calligraphy), and healing arts.
This type of lesson initially brings students to confusion.
Eventually, it allows them to understand Mu, nothingness.
That is the purpose of the study of Kempo in Kosho Shorei
Ryu. Once that is accomplished, one sees everything, and at
the same time realizes that it is really nothing.

Hanshi Bruce Juchnik and the Sei Kosho Shorei Kai supplied
this information.

32
CHAPTER 2

The Objective

Mind Like Water

As we go through life on our journey as martial artists, we

learn many lessons – some martial lessons, some life lessons.
If we look deeper into these lessons, we start to see that the
two are connected. Principles we learn while studying martial
arts start to have a direct relation to much needed principles/
concepts that help guide us on our journey in life. This also
works the other way around.

Let’s take a look at the concept of Mizu No Kokoro or “Mind

Like Water,” which involves having a mind that is not
“stuck,” but flowing and constantly changing to adapt to
circumstances we encounter. This concept is extremely
important to leading a fulfilling life. As individuals, we all
have problems, challenges, and hardships that come our way.
If we focus only on the problems, challenges and hardships,
instead of the solutions or actions, our mind becomes “stuck.”
Having this frame of mind is not conducive to solving
problems or finding a course of action that will allow us to
overcome these obstacles.

33
After all, the willingness to take action to deal with these
challenges in life is what makes us stronger, well-adjusted
individuals on this journey. If we focus on the solution
instead of the problem, our mind takes on the mannerisms of
water, which finds its way around, over, under, or through
whatever obstacle in its path.

If we train our minds to take on this attitude when it comes to

our martial arts, we are free to flow with whatever comes our
way, making adjustments in order to accomplish our goal–the
defeat of our opponents. So, how do we arrive at this place of
freedom?

34
In my mind, it all comes down to study. We must study
movement, motion, manipulation of balance, and structure.
We must break free of being bound by the technique we are
trying to apply and see what concepts govern the specific
situation. By gaining an understanding of the principles and
concepts that make a martial technique work, we build

35
ourselves an arsenal of options. Having options allows us to
flow with whatever comes our way and gives us the tools
needed to accomplish our goal.

This book is intended to open the reader’s eyes in several

ways. In the martial sense, the objective is to provide the
reader with the tools to look deeper into his or her art, to see
concepts and principles that apply to all martial arts styles and
systems. This process leads to a better understanding of the
art we practice and at the same time, opens our eyes to the
incredible amount of options available to us.

On the other hand, this book is meant to expose readers to (or

remind them of) concepts which lead to a more fulfilling life
and to offer principles by which to help them become more
confident, compassionate, and understanding individuals.

One very important point: we cannot underestimate the

importance of learning the basics. A student cannot just
“jump ahead” to the more advanced, intricate techniques and
concepts. We must all go through a progression of training
(Shugyo no Junjo). This process starts with the individual
making up his/her mind to dedicate the time and effort
necessary, making it a priority in life. The student must also
make up his/her mind to learn well the basics of the art, the
fundamentals that lay the solid groundwork of a good martial
artist. We must then sharpen and develop ourselves through
countless repetition, eventually evolving into a master who
has not only developed the physical attributes necessary to the
art, but also the mental and internal attributes.

36
Qualities such as respect, compassion, patience and
perseverance, and the freedom to not be governed by
circumstances, are a by-product of martial arts training.

In this process, we undergo a transformation similar to that of

the forging of a Japanese katana. During this process, we
must push ourselves through countless hours of training and
repetition, constant corrections by our teachers, pushing
ourselves physically and mentally until we are honed and
sharpened into an instrument that has the strength to handle
any challenge, and the compassion and understanding to
contribute to a better society.

In the following chapters, you will find various techniques

and examples, which are used as a vehicle to apply these
concepts or principles. Understand that these techniques are
just my way of conveying the message...there are countless
other techniques and variations which may apply also.

This book is about simply opening doors for the practitioner,

so he or she may grasp the concept, and in turn experiment
and discover how to apply it for themselves. It is my belief,
that the art should fit the person…not the person should have
to fit the art. The beauty of Kosho Ryu Kempo is that the
understanding of concepts/principles, allows for many options
and avenues, so the art may fit the practitioner.

37
38
CHAPTER 3

What is the Martial Way? Why Study It?

The Way of the Warrior

In my limited 28 years of martial arts experience, I won’t

even begin to claim that I understand the concept of Budo.
How Budo is explained and defined differs from person to
person. The best I can do is relate to what my teachers have
tried to instill in me, and what the concept of Budo has come
to mean to me.

To me, Budo is using the martial arts as a vehicle to train the

mind and the body. It’s about character building and forging
the spirit through the challenges put before us in our martial
arts training, much like that of the forging of the Japanese
katana—building strength layer after layer. It’s about giving
just a little more, when our mind and body is telling us there
is no more.

39
It’s about training and mastering your mind so that you are no
longer governed by or reacting to environmental influences or
circumstances, yet always being aware of them and allowing
you to see things for what they really are.

Budo is about having the attitude of a warrior and living with

a sense of honor in everything that you do.

It’s about being strong yet compassionate for everyone,

working for the betterment of yourself and of the community
you live in. These are not easy things to work towards, much
less accomplish! Lord knows we’re not perfect.

But it’s about the path. It’s about the challenges that are put
before us and how we respond to them. It’s about the
development of a moral code we build for ourselves, with the
help and guidance of our teachers.

It’s all about the process!

The Battle of Life

Even though most of us never step out onto the battlefield

with sword in hand to face an opponent whose objective is to
physically destroy us, we still face many battles and conflicts
everyday. Having the attitude of a compassionate warrior is
an extremely useful tool on our journey through life. We must
also recognize that our most difficult opponent is one we deal
with everyday...ourselves.

What are some of the battles we face as martial artists and

human beings? Sometimes it’s the simple yet difficult battle
of getting out of bed when the alarm goes off. It is certainly

40
easier to just hit the snooze button. Maybe it’s the battle of
motivating ourselves to have a positive attitude for our work,
or towards the people we come in contact with each day.
Maybe, it’s the battle of being better focused in our martial
arts training, or digging a little deeper physically when your
body and mind is telling you to stop. If we don’t give that
little extra push, how will we know what we can truly
become?

It’s Really Up to You.

We all have related battles to face in life. We all have

challenges that we face everyday— deadlines,
accomplishment of goals, stress, and environmental factors.
Budo teaches us when we have battles/challenges. We must
focus our energies on the solution, not the problem.

It’s what you do with what is laid before you that really
matters! Is the cup either half-full or half empty? It’s all about
how you perceive things. There is always a battle, a situation
in which we are tested, in everyone’s life, no matter what
your occupation, financial situation or family background.

Pain is part of life...misery is optional!

I believe that challenges come our way for a reason.

Sometimes it’s hard to see the positive in situations, but there
is usually a lesson to learn or a reason we are being tested.
How we deal with them is up to us. We can allow these
challenges/battles to steal from us our strength and our vision
of who we want to be. Or we can use them to forge our spirit,
making us more confident, disciplined, and happy people. As
we become better people, we start to affect our communities

41
by having a positive impact on society. As a teacher, my job
is to act as a guide for people looking to embark on this
journey, helping them become capable leaders and contribute
to society.

Can you start a human revolution?

What kind of difference can you make?

Life as a Warrior

An individual who lives with the attitude of a warrior takes on

a different view of the world. Budo is the philosophy that
guides a warrior and shapes the way he or she sees these
events or challenges.

Do we look at things from all perspectives?

Do we try to recognize and understand other

people’s motivations for what they do? More
importantly, do we realize our own motivations for
our actions?

Are our own motivations pure in the sense that we

strive for the benefit of ourselves, as well as for the
benefit of all parties involved? Or are we motivated
strictly by our own selfish desires?

Everything we do, in every personal relationship, business

relationship, transaction or deal we make, there must be a
mutual benefit for all. This is not a principle that most people
live by in today’s society! Having a sense of honor in what
we do, and how we treat people, is needed now more than

42
ever. Developing the ability to understand other people’s
motivations by observing their actions is an extremely
important skill. Someone whose motivation was not that
obvious has fooled us all. We end up disappointed, hurt
emotionally and sometimes financially. Considering one’s
motivation before taking action can sometimes save us from
this disappointment.

Honor

Do you have a code of honor?

Do you have a sense of what is right and wrong?

Do you have the courage to stand up for what you

believe is right, even when it is unpopular?

I believe true Budo teaches this. Sometimes we need to be a

voice for what is right, even though it may jeopardize our
position or others’ view of us. This can be a tough situation to
be in, but if we have a code of honor, and conviction for the
betterment of something, we must take a stand.

Taking this position can be scary and unpopular. But usually,

if our intentions are pure, good will come of it. Sometimes,
taking an unpopular stand is much better than living with the
regret of doing nothing.

When we speak of honor, we have to think in terms of right

and wrong.

Where’s the line?

43
 How far can you go before you cross that line?

Does a line even exist?

Realize that sometimes in life, environmental influences exist

that compels us to make compromises that we would not
normally make. Compromise is important, but not at the
expense of our honor. Remember that once you step over the
line of right and wrong too many times, that line begins to
disappear. We must do our best to keep our honor and
ourselves in check.

The Constant of Change

Do you recognize the fragility of life?

Do you know what tomorrow holds?

Do you recognize that in a blink of an eye many of

the things that we are blessed with can be taken
away?

If you were to find out that you had only six months
left on this earth, what would you do differently?

Would you be a better husband, father, teacher, or

person in general?

Would you treat people in a kinder, more

compassionate manner?

44
 Would you really listen to the people who are close
to you, and try to better understand what is
important to them?

Would you learn or attempt something you’ve

always wanted to do, but were afraid to?

Would you contribute something that would make a

profound difference in the lives of other people,
therefore leaving a piece of yourself behind...your
legacy perhaps?

What will your legacy be?

What will people say when you’re gone?

Will it be positive?

Will people remember sacrifices and contributions

you’ve made, whether they were contributions of
time, money, or just of yourself?

Oh! That’s right, you will probably be here in six months. But
with this philosophy and discipline, we can change our future
actions and our appreciation of things in our life. Living with
the philosophy of Budo in our lives gives us an appreciation
for these blessings and allows us to see that nothing is
permanent and things will always continue to change.

Respect

45
Do you understand the concept of respect, and that we must
strive to respect others even if we don’t understand them? The
martial way is all about respect! We must learn to respect our
elders for the work they have done and the dues they have
paid. Their experience in life can give us much insight and if
we’re lucky enough, maybe they’ll share some of their
knowledge and insights to make our journey a little smoother.

Conflict

So, if we are looking for an avenue of self-improvement, why

train in the martial arts? What does martial arts training give
us that is difficult to find elsewhere? Martial arts training
teaches us about conflict and how to find better ways to deal
with it. In it’s most basic interpretation, training in the martial
arts teaches an individual how to deal with the conflict of an
aggressive, attacking individual. The goal is to first build
physical skills and abilities to neutralize the threat of physical
violence. Building the qualities of speed, power, balance and
stability, along with eye training in the context of the art’s
basic fundamentals is essential in this stage.

In the more advanced aspects of this stage, students learn how

to be more subtle and refined with their techniques and
strategies. They will learn how to properly use angles to
evade their attacker, enabling them to use their techniques
more efficiently, as well as taking advantage of using the
attacker’s force against them. At this stage, students should
also learn strategies to enable them to manipulate the
structure and balance of an attacker. Someone who cannot
find balance cannot follow through with a powerful, effective
attack.

46
As students progress through this first stage and learn how to
deal with the physical conflict of an attacker, they should start
to see the connection between dealing with the physical attack
of an opponent and the non-physical arena of conflict in
everyday life. This realization seldom occurs without a
teacher who can expose students to the proper philosophies of
the martial arts, and can point out the similarities of these
conflicts. It is said that a good teacher can take you places
that you’ve never been, while a great teacher can dramatically
change the place you’re in. So, it is extremely important to
have a teacher who can point out the necessary keys to
enlighten the student to the fact that these comparisons exist.
However, a true student of the arts may turn to many different
sources for instruction, including any resource of written or
verbal information that enhances the student’s perspective of
these comparisons.

When we talk about conflict in a nonphysical sense, we have

to think about the conflict that exists in our personal
relationships, business/professional relationships, financial
situations, and any type of situation in our life where we feel
a sense of conflict. Strategies of warfare directly relate to
daily life conflict. In warfare it is extremely important to
know or understand our enemy.

Is it any less important to understand our spouse, co-workers,

or family? In order to avoid or overcome conflict with people
with whom we have relationships or dealings, we must not
only understand them but also what’s important to them.
Seeing their perspective on things goes a long way when it
comes to avoiding conflict or overcoming it. That is not to say
what we must agree with it, but being able to acknowledge

47
their point of view is critical in resolving conflict. Sometimes,
we must agree to disagree on issues!

Ever wonder why groups of people cannot get along with one
another, even when they share the same perspectives and
beliefs? Why is there always some sort of conflict? A certain
amount of conflict will always exist among groups of people
simply because every individual has a certain amount of
internal conflict. Budo and the martial arts teaches us to
recognize these inner conflicts, and gives us the strength to
work towards eliminating them.

This is NOT an easy task.

It may certainly take a lifetime! Not only is it beneficial to

work at eliminating these conflicts for the purpose of leading
a more balanced life, but also it is essential in helping us
make good decisions in a world of many choices. Nowadays,
life is extremely fast-paced, and we are constantly bombarded
with choices. I believe that working towards eliminating or
gaining control over these inner conflicts produces a clearer,
more receptive mind, and hones our instincts—all of which
helps us to make better decisions and choices.

It all comes down to balance —external and internal. Ever

notice how internal conflicts come to the surface, when we
are feeling pressured by environmental influences? These
pressures can come from many different environmental
influences, such as money or financial matters, personal
relationships, professional pressures and deadlines, health
issues or any number of things life may bring our way.
Conflicts and insecurities, which exist inside us, will come to
the surface when pressured by these influences, squeezed

48
from us like squeezing a grape produces grape juice. What
lies inside us, is what comes out under pressure. While
writing this book, I had the pleasure of being in Japan with
several of my teachers. During this time a terrible earthquake
struck the countries of Pakistan and India. It was amazing to
me, as I watched CNN, (one of only two channels in English),
how two countries which disliked each other immensely,
were working together for a common good.

Why must it sometimes take a catastrophe or some

tragic event to bring out the good in human nature?

Why can we not have a compassionate and helpful

attitude towards the people and situations we come
in contact with everyday?

Is it because we are very often totally absorbed in

our own selfish wants and needs?

Is it because we all have a certain amount of conflict

inside ourselves?

Do we even recognize how this inner conflict affects

our perspective of things and people around us?

The Progression of Training

Shugyo no Junyo is a concept used in the martial arts that

pertains to the actual progression of training. The formula for
this progression of training is very simple:

1) Make up your mind to learn the basic

fundamentals of your chosen art. This means setting

49
 aside the time and energy required to practice and
learn the fundamentals.

2) Repetition and constant practice of the techniques

and lessons pertaining to your art.

3) Eventually, evolving into a person who has

mastered the art and is confident and in control of
his/her environment.

Pretty simple formula...though not necessarily easy to do!

Now, if we look at this formula for training, should we not
also see that this is also a formula for life?

We, as practitioners of the martial arts, must look towards the

lessons contained in our studies. Look at the principle of
avoidance, and how we use this on an attacker who is trying
to harm us. First, we need to keep our vision peripheral so we
may see all of what is going on around us. If we see the
situation far in advance, it becomes very easy to avoid it.
Secondly, we must move at the right time. Not necessarily
fast, but on time. Timing is everything!

When dealing with a non-physical confrontation with a

friend, acquaintance, or spouse, the same basic considerations
must come into play. We must strive to see situations before
they become confrontations. If the conflict is not something
we desire or need to be involved in, why allow ourselves to
be drawn into it? When someone wishes to engage in an
argument or debate with you, and you can see that this
particular person only sees things from their own perspective,
refuse to allow yourself to be involved. One of my teacher’s
favorite quotes is, “Never argue with a fool, for he may be

50
doing the same.” It’s very difficult to argue or debate with
someone who refuses to engage. This is a simple example of
the principle of avoidance.

Redirection is also a concept to be used in a verbal conflict. If

we are to redirect someone’s direction or force, we must
strive to make them focus on something other than their
primary objective. In a physical arena, this could be a painful
strike used to put the opponent mentally and physically
off-balance. In the verbal arena, this could be merely
redirecting the conversation, maybe getting the person to talk
about himself or something important to him. Who doesn’t
want to talk about themselves or something of interest?

As martial artists, we need to pay attention to the principles of

avoidance, redirection, and creating imbalance that we use
when dealing with physical conflict, and apply them in the
arenas of personal and business relationships, as well as all of
our social interactions.

Life’s Cycle of Progression

How do we start to see the connection between the concept or

principle and the many applications it may have for our life?
We must look beyond the initial explanation, and examine
other possible applications. We must look at the similarities in
all things. That is not to say we ignore the differences. But
noticing similarities, allows our brain to make a comparison
to something we can already relate to.

There are usually many different applications for a concept or

principle, just as there are usually many different facets of our
life that principles can help enhance.

51
Let’s take a look at a symbol that many people are familiar
with, but truly do not understand all its implications.

The yin-yang symbol can be seen everywhere you look. It has

been used in logos, on book covers, T-shirts, skateboards, in
the martial arts, as well as in many other applications. The
symbol is said to date back to the fourth century B.C., and has
been used by the philosophical religions of Buddhism,
Confucianism, and Taoism.

The Yin-Yang represents two opposite, conflicting forces,

which blend and coexist in the same space. These forces are
found in every action. The symbol is also a reflection of the
fact that all things in life are subject to change. The only thing
we can be sure of is that life, as we know it today, will
change. It is really up to us to try to change things for the
better.

The symbol is made up of two teardrops, like halves that

seemingly blend into one another. The black portion is Yang,
representing such characteristics as hard, forceful, or an
outward projection of energy. The white portion is Yin,
representative of such characteristics as soft, yielding, or an

52
inward collection of energy. Inside each of the spheres is
contained a small seed or portion of the other.

This signifies that whether you are predominately a Yang

person, or a Yin person, we all have a small percentage of the
qualities from the other.

We can look at this symbol and it’s representations in many

ways. It can take on the meaning of the balance between
FULL and EMPTY. This comparison can be related to
characteristics of the human ego; if we are too full of
ourselves, we allow ourselves to be closed off to new
perspectives and ideas. This makes it very difficult for proper
learning and positive growth for the future. On the other hand,
if we are too empty, we may accept all perspectives and ideas
without questioning whether that particular information is
good for us.

Another way of interpreting the yin-yang symbol would be

the comparison of being FORCEFUL or YIELDING. There
are times in our martial arts where we must be forceful; use of
power, speed, and an indomitable spirit to move straight
ahead is essential. But as we become more experienced, the
realization that having the ability to be yielding, and elusive is
equally important.

The important concept to grasp is knowing when and where

to apply each quality. Knowing how to use this concept in
your daily life is essential when dealing with the conflicts of
everyday life.

Yet another comparison of this symbol can be that of the use

of STRENGTH and COMPASSION. It is very important in

53
life, to have strength. Strength in your convictions, state of
mind, and in your physical sense, is very important for your
survival. But being strong without compassion, and an open
mind for understanding the people and circumstances around
us, can leave us empty and out of balance. As martial artists
and students of life, we must have the strength and fierceness
of a lion, but, just as importantly, that strength must be
tempered by compassion for all those around us.

As we look at these comparisons of the Yin-Yang

symbol–and there are countless more–we should start to see a
common thread: the pursuit of balance. All of these
characteristics from this symbol are very important unto
themselves. But mastering the ability to use them in a
balanced, productive, and compassionate manner is what a
student of the martial arts, and a student of life should strive
for.

Rules/Guidelines for Life

As we progress in our training, and become aware of martial

arts principles and concepts, we should start to notice how we
are governed by natural law. These laws govern how we
move, giving us a road map if you will, to better balance and
structure as well as ease in movement. Knowing how these
concepts/principles apply to us, for better structure and
movement, also teaches us the keys of destruction when it
comes to our opponent.

When it comes to physically applying our martial arts

techniques, we can violate these principles sometimes,
depending on our age (youth), strength, and speed. But as we
get older, we have to grow smarter and more perceptive to the

54
keys that make our purpose easier, and our opponent’s
purpose more difficult. If we choose to ignore the fact that
these guidelines exist, we are doomed to fail, especially after
our physical skills start to diminish.

As we have discussed earlier, principles that govern or relate

to physical movement and motion, have a direct relationship
in dealing with the mental and emotional challenges of daily
living.

Keeping this in mind, I have tried to come up with several

simple, straight-forward principles or rules to help guide us
when dealing with conflict...physical or non-physical.

1) Pick Your Battles!

Ever feel that you are surrounded by battles/conflicts that

constantly require your energy and urgent attention?
Sometimes in life, we are drawn into a conflict without our
total awareness. Other times, we may dive right in to a fight,
without considering the consequences of participating in the
conflict. How much time, emotional and physical energy will
we have to invest?

Will this sacrifice be beneficial to the betterment of our lives

in the long run? Have we looked at the possible outcomes of
this situation or conflict? How will our lives, and the lives of
those around us, benefit if we prevail? Will there actually be
any benefits? Have we considered the down side of engaging
in this conflict if we do not prevail? What will we lose, and
more importantly, can we afford the loss? Is the fight worth
the consequences?

55
These are all considerations that have to be taken into
account, BEFORE we enter into a conflict. In war, just as in
daily life, there are never any shortages of conflicts or battles
we may engage in. The important thing to remember is that to
be an effective and victorious warrior, we must look at the big
picture and ask ourselves these important questions. Have we
entered into a conflict merely because of our ego, or is the
process or fight a worthwhile cause, which will affect you and
others in a positive manner?

Always remember, in many cases, we have the opportunity to

pick the battles we engage in. But, if we choose not to ask
ourselves the important questions, we will find ourselves
drawn into conflicts and situations that are not worthy of our
time, energy, and possibility of sacrifice and loss.

This guideline is, in no way meant to influence the reader to

be totally passive, and to not engage in a conflict. It is merely
meant to induce this thought, more often than not we have a
choice in the matter. Always remember, when we have a
choice, we must evaluate the situation in an objective,
educated manner.

2) It is Always Easier to Get Into a Battle or Conflict, Than It

is to Get Out!

This guideline goes hand-in-hand with PICK YOUR

BATTLES. We have all been drawn into situations, where
we’ve engaged in a conflict, whether it is an argument, legal
battle, or dispute of some kind, only to realize the objective is
not worth the price we must pay to accomplish it. If we lose
the taste for the battle, we may find ourselves wondering how
we got involved.

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When considering the first guideline, Pick Your Battles, we
must consider the fact that the conflict may draw on much
longer, and become more costly, than anticipated. This factor
must be a major consideration. Are we willing to endure a
long, drawn out, mentally and physically draining campaign?
If we look back in history, many times we’ve found ourselves
as a country, involved in campaigns that have continued on
much longer and become more costly than anticipated. Is the
objective worth the sacrifice?

We must look at the conflict and how to appropriately deal

with it. Consider all scenarios... What is your exit strategy?
Do you have one? At what point would you consider cutting
your losses and remove yourself from the conflict?

3) Know Who You’re Dealing With!

In the martial sense, this would more appropriately be termed,

Know Your Enemy. Since these guidelines are meant to cover
a broad spectrum of conflicts or battles which may come our
way, we will use, Know Who You’re Dealing With. In any
interaction with people, there is a certain possibility of
conflict. As discussed before, everyone has a certain amount
of internal conflict. Therefore, when interacting with others,
opinions and viewpoints will often differ, bringing conflict to
the surface.

In order to plan out a strategy to avoid conflict, we must

know as much as possible about the person or persons we
have interactions with. This may be an adversary in business,
a neighbor, a co-worker, a spouse, or anyone whom we have
some type of relationship with.

57
First of all, knowing a great deal about the people we interact
with, gives us a better understanding of them. We start to see
and understand their values and priorities, which guide or
drive their behavior. Understanding what things are important
and fulfilling to them, allows us to create a more harmonious
and balanced relationship with them.

Here are several important characteristics to remember that

will help better understand people and why they do what they
do.

• The number-one fear all people have is rejection.

• ALL people need to feel accepted by those

around them.

• Everyone approaches situations with some

concern about what’s in it for them.

• When negotiating or dealing with someone, you

must do it in a way that protects or enhances their
self-esteem.

• People will hear and adopt only concepts that

they understand, and can relate to.

• People believe and trust those who like them, and

share things in common with them.

Take a look at these guidelines, and see if they don’t give you
a better understanding of how and why people act.

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Knowing these characteristics of the way humans function,
and implementing them into your strategy when interacting
with others, will change the way you see and deal with other
people. This allows us to better avoid conflict and if conflict
occurs, allows for better communication and negotiation.
Everyone desires to feel important in some way, and wants to
feel as though they’re being understood. If you make it a
constant practice to observe the people around you, and better
understand what makes them unique, you will be much more
successful in having balanced relationships with them.

4) It’s Not Always What You Say, but More Importantly,

How You Say It!

Quite often, the delivery of the message is more important

than its content. When we are involved in discussions with
people, our intent is usually to get the other party to see our
viewpoint.

They may feel defensive, or intimidated by our perspective.

We may experience feelings of frustration, anger, or
impatience, which can cause us to lose sight of our objective.
If we do this, our delivery of the message can create a
breakdown in the lines of communication. This in turn, makes
our objective much more difficult, if not impossible.
Remember, that our objective is to win the battle without a
fight.

If the delivery of the message is done without the presence of

ego, and is done in a manner that allows the other party to see
that both sides share common values and interests,
communication and resolve of the conflict will take place
much quicker. This allows for the feeling of connection with

59
people. Most people will be much more inclined to listen to
someone, who they feel understands their interests and
concerns.

Sometimes, we allow our emotions to negatively effect our

presentation or delivery. If we are feeling emotions of anger
or frustration, we may come off as gruff and unconcerned for
anyone else’s feelings or viewpoints. This usually will result
in a much more difficult resolution of the conflict. That’s not
to say that sometimes our emotions cannot propel us and
gives us the ability to deliver a commanding, inspirational
message. Sometimes anger and the show of force can be a
powerful tool when it comes to an adversary that only
understands that mentality.

As you can see, this guideline is directly related to Know

Who You’re Dealing With. When you better understand the
person you’re dealing with, the delivery of you’re message
can be incredibly more effective! When it comes to our
emotions, we must choose which emotions are proper for the
situation, and use them in a balanced manner. There’s that
concept of balance, again! Yet it’s NOT the easiest thing to
do, is it?

5) Take What You Do Seriously...Don’t Take Yourself

Seriously!

Having an over abundance of ego and self-righteousness can,

and usually does end up in the destruction of ourselves, and
greatly impairs our relationships with others. Have you ever
known someone who was extremely passionate and skilled in
what they did, while maintaining a humble attitude about
themselves? Their dedication and enthusiasm for what they

60
do is an inspiration to those around them. Their humility
creates a feeling of approachability and comfort, which draws
people to them.

As people are drawn towards this person, they may pass along
compliments and share their admiration. They may comment
on this person’s incredible level of skill, or their vast
knowledge in a given area, in turn putting this person on a
pedestal. This is great feedback for the individual, for it gives
them the ability to see they’re making progress and that they
are delivering a quality service.

It is a wonderful thing to be able to feel we are giving good

direction to others who share our interest. This is an important
process in the development of this leader. Unfortunately, the
drawback to this can be that even those who start out as the
most humble can start to take these compliments, and
themselves, way too seriously. It is easy to forget where we
came from; we may forget that we are no better than them,
just perhaps further along on the journey than they may be.

If we allow others to feed our ego to the point we take

ourselves too seriously, we forget about being compassionate
towards others. We lose touch with doing the best we can do,
so others can’t benefit from our presence. Many great people
have fallen because they allow themselves to believe they’re
larger than life. Take what you do very seriously...but always
be careful to NOT take yourself too seriously.

That’s why it is so very important to always remain a student.

We must strive for continual growth and evolution in what we
do, and in who we are.

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A very important part of this growth has to come from having
a good teacher. As we become more successful in life, we
must always remember where we came from. If we, as
teachers, forget what it was like when we were white belts,
then we cannot relate to the student, and what they need. We
must remember the humbling experiences we had when
starting this journey.

The importance of having a teacher cannot be overlooked! A

good teacher provides guidance to keep us on track. They
have traveled this path before us, and can therefore guide us
through the pitfalls that lay before us. If our ego needs to be
put in check, they provide lessons on humility, when the need
arises.

We should be humbled by our teachers in several ways. We

should be humbled by our teacher’s knowledge and skill of
the martial arts. As importantly though, we should be
humbled by their actions, personal humility and philosophy.
Remember that no one is perfect, and even the best instructors
have faults. The key, I guess is...are we working at resolving
our issues, and working at bettering ourselves and those
around us? Remember to always have the ability to laugh at
yourself. TAKE WHAT YOU DO SERIOUSLY, NOT
YOURSELF!

6) Take Time to Appreciate What You Have In Your Life.

This guideline is to help us understand and learn to appreciate

people and things, we have in our life...while they are here.
Too often in life, we get caught up in the busy days, the
stress, and the deadlines and commitments we face. We have
a tendency to lose sight of what’s truly important in our lives.

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As this happens, people and things in our life begin to drift
away, or start to deteriorate. So periodically we must take an
inventory of the people, and things in our lives that make us
happy and contribute to who we are. We have to pay attention
to the action needed to maintain and nurture our relationships,
and important components of our life. This could apply to a
spouse, loved one, or friend. It could also be a business, a
career, or the pursuit of something like the martial arts. As
with anything important, there must be a certain amount of
dedication, in order to have them continue to be an important,
enriching part of our lives.

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CHAPTER 4

The Sho Chiku Bai Crest

The Family Crest

The family crest of the art of Kosho Ryu Kempo, is called the
Sho Chiku Bai Mon. This crest contains many of the keys that
contribute to a well-rounded study of both life and the martial
arts. The Sho Chiku Bai Mon has elements that are
approximately 750 years old. Mon Gaku or the study of the
Sho Chiku Bai crest, gives the student insights into the
spiritual and philosophical studies, as well as the physical
studies.

Study of the philosophical arts, the most important study,

gives practitioners insights into how to keep themselves in
check with their surroundings and teaches them how to blend
with their environment, and be a positive contributor to
society. The three interpretations of the Mon are as follows:
the spiritual and philosophical study, the physical study, and
the study of the destructive arts.

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Let’s dissect the crest and identify and explain its
components.

Starting from the outside of the crest, we see the circle

surrounding it. The circle represents totality – maybe a
journey, or a learning experience that has come full circle,
that has led a practitioner to a deeper understanding. Maybe
it’s a reminder that we need to always be well rounded in our
practices, keeping an open mind to new ideas and
perspectives, thus allowing growth in our lives.

Next, we have the eight angles of the octagon. The octagon is

the most important aspect of the study of the physical arts.

The Eightfold Path

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The first representation of the eight angles is the Eightfold
Path of Buddhism. The Eightfold Path can be compared to the
Ten Commandments of Christianity. The purpose of the Ten
Commandments is to educate the practitioner in what actions
are not appropriate. The Eightfold Path, educates the
practitioner in what actions are appropriate. These actions are
as follows:

1) Right Speech —We need to choose our words wisely. We

need to consider to whom we are speaking, including their
perspectives and viewpoints. Right speech creates harmony,
while improper speech creates conflict and disharmony.
Always remember...it’s not always what we say, but more
importantly, how we say it!

2) Right Understanding —We must take the time to

understand ourselves, and the people around us. The more we
know about the people we’re dealing or interacting with, the
easier it is to understand them. We need to understand their
values, perspectives, and priorities since this forms the core of
their behavioral attributes.

3) Right Means of Livelihood —We all need to make a living,

to financially support ourselves and our families. As
important as it is to financially support ourselves, we must
also remember that the means we use to accomplish this must
be in line with the laws and guidelines set forth by society. If
we stay within these laws, we contribute to that society. If we
violate these laws, by using improper means to support
ourselves, we create disharmony and cause harm.

4) Right Effort —Having the attitude of doing everything to

the best of our abilities or capabilities sends a message about

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us. This mindset tells people around us that we are humble,
conscientious, hard-working, focused, and dedicated in all
aspects of our lives. These areas include our work, our
personal and professional lives, as well as our martial arts
training.

5) Right Meditation —Meditation can be interpreted many

different ways. One aspect of this is a better understanding of
how to become more centered and focused individuals. The
process of meditation should enable the practitioner calm and
cleanse the mind while energizing internally, thereby
allowing us to view our environment in a much clearer, more
objective manner. This process should allow us to be more
receptive to our instincts and inner wisdom. Meditation
should also be a tool to help us to slow down and learn to
appreciate the moment. Live the philosophy of life in every
breath.

6) Right Action —Life rewards action! Intentions are

important, but people generally don’t care about your
intention. They care about what you do! They don’t really
care what you meant to do! Words are easy, action is difficult.
As we move forward on our journey, we must make careful,
well-informed decisions—then pull the trigger, and act on
them. All of this must be with the right purpose in mind. Our
actions should always have a mutual benefit for the
betterment of ourselves, and for all other parties involved.
Our actions should be taken with the intent to create harmony
for ourselves and everyone in our environment. Be a person
of planned, educated action performed for the right purpose.

7) Right Intention —The use of proper motives or intentions

in our endeavors is critical to creating and maintaining

67
harmony in our lives. Intentions are the precursor for action.
They must fuel the fire for our actions. These intentions must
be in line with what is for our betterment, and that of
everyone involved. Also, in keeping with the thought that we
should have a keen awareness of what is going on around us,
we need to explore other people’s intentions. Understand
what their underlying motives may be. What’s in it for them?
Do they genuinely have our best interests in mind? Always
analyze others’ intentions, as well as your own.

8) Right Awareness —Having proper awareness of our

environment and ourselves is vital to dealing with life in a
preparatory manner, allowing us to see situations and
circumstances as they develop. Being aware of ourselves and
how we fit into our surroundings gives us insights into
creating harmony within that environment. Proper awareness
is the cornerstone of effective self-defense, protecting oneself
from potential physical harm from another individual, or
avoidance of any situation that is detrimental to our
well-being. Be aware of people and their motivations, both
good and bad, and gain insight into what drives them. Then,
and only then, can we make a judgment as to whether such a
relationship is beneficial to our lives.

The Eight Fold Path gives us a guide for the betterment of the
self and the community. It holds the keys to blending with
others, and avoidance of unwanted conflict, to aid in creating
a more enjoyable, fulfilling life.

Eight Aspects of Study

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The second representation of the octagon involves the eight
angles that signify the different areas of Kempo study, which
a student should pursue.

Angle #1–Energy Collection

Energy Collection includes, but is not limited to, the study of

breath, posture, triangulation of alignments, timing,
visualization, energy gathering and projection, kata, kumite,
and bunkai.

Angle #2–Healing Arts

Healing Arts include, but are not limited to, the study of the
Five Element Theory, anatomy, physiology, body systems,
shiatsu, anma, nutrition, herbology, the study of boshin,
bunshin, munshin, setsushin (all diagnostic techniques),
posture, energy projection and gathering, kata, kumite, and
bunkai.

Angle #3–Japanese Yoga

Japanese Yoga includes, but is not limited to, the study of

stretching and conditioning exercises designed specifically for
the study of Kosho Ryu martial arts, as well as for general
fitness, breathing, posture, triangulation of alignments,
timing, visualization, energy gathering and projection, kata,
kumite, and bunkai.

Angle #4–Escaping Arts

Escaping Arts include, but are not limited to, the study of
breathing, posture, natural movement, triangulation of

69
alignments, timing, jumping patterns, angling, eye training
with respect to reducing negative stimuli to reaction time,
falling techniques, hearing arts and the reading of the
opponent’s intent, the study of metabolism, kata, kumite, and
bunkai.

Angle #5–Philosophy

Philosophy includes, but is not limited to, the study of the

Mon, and of culture, history, and awareness of the physical
self along with awareness of the spiritual self, kata, kumite,
and bunkai.

Angle #6–Folding Arts

Folding Arts include, but are not limited to, the study of
fundamental throwing techniques, fundamental releasing
techniques, fundamental ground techniques, breathing,
leverage, anatomy, natural movement, entering motion,
engagement and disengagement with a moving opponent, kyo
and jitsu, kata, kumite, and bunkai.

Angle #7–Meditation

Meditation includes, but is not limited to the study of Shodo

(Japanese Brush Calligraphy), Ikebana (Japanese Flower
Arranging), Iaido (Swordsmanship practice for the sharpening
of the mind and spirit), comprehensive understanding of
philosophy and energy collection, history, understanding of
kokoro, kime (focus), kata, kumite, and bunkai.

Angle #8–The War Arts

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War Arts include, but are not limited to, the study of strategy,
timing, posture and positioning, angling, combative
distancing, Kenjutsu (Japanese fencing), Iaijutsu
(swordsmanship with combat application done from the
sheathed position), Naginatajutsu (Halberd arts), Sojutsu
(Spearmanship), Bojutsu (long staff arts), Jojutsu (short staff
arts), Tantojutsu (knife arts), natural movement, vital point
striking, skeletal striking, nerve striking, internal striking,
breathing, triangulation of alignments, energy gathering and
projection exercises, kata, kumite, and bunkai.

Sho Chiku Bai

Next we will look at the elements pictured within the octagon

of the crest.

Pine, Bamboo, Plum Blossom

Sho (Matsuda)–Pine

Evergreens live long, young, and healthy lives. The Pine

symbolizes faithful friendship that resists all trials. The pine
represents the religion of Taoism. The Japanese people use
pine needles for ornaments on Christmas and New Year.

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Chiku (Take)–Bamboo

Bamboo represents honesty. When you cut into bamboo, you

find emptiness inside. Nothing evil is hidden within. A good
Kosho Ryu student remains ever empty, and always open to
additional knowledge, never becoming full of themselves and
their accomplishments. The bamboo is the symbol of the
application of discipline, and the man who remains loyal in
all events. Bamboo represents the Japanese religion of
Buddhism.

Bai (Baika)–Plum Flower

The Japanese plum flower stands for beauty, nobility, and

courage. This is because the plum flower puts forth blossoms
while the snow is on the ground. The plum tree flowers before
all of the others. The Japanese people love the plum fruit,

72
eating them especially when they are sick. The plum
represents the Japanese religion of Shintoism.

The Hand Postures

Kigan–Praying Hands Position

First Representation: The right hand (representing the

physical) and the left hand (representing the spiritual) are
placed together for peace and avoidance of conflict.

Second Representation: Escaping Arts

Third Representation: Skeletal Strikes

Kaishu–Open Hand Position

First Representation: The right hand and left hand are placed
together in the shape of a mountain. One should look for the

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good in man, as you would see a mountain from a distance,
without nitpicking flaws and imperfections.

Second Representation: Folding Arts

Third Representation: Internal Strikes

Hoken–Covered Fist Position

First Representation: The right hand (representing the

physical skills) is covered by the left hand (representing the
spiritual skills). One should temper his/her actions with
morality, avoid conflict, and hide his/her weapons.

Second Representation: Muscular Strikes

Third Representation: Total Domination

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CHAPTER 5

The Octagon

The Octagon

The use of the octagon is very important to the student of

Kosho Ryu Kempo. Whatever art you study, the concepts of
the octagon can enhance your own understanding of what you
do. The use of the octagon gives us a tool to practice and
understand stances, directional movement, transitional
motion, and how to be evasive in our escaping. The ability to
escape harm from an opponent, and to do no harm to them, is
considered the highest art. When working our escaping on the
octagon, we have to understand the relationship of the 12-6-3
theory, and the use of tunnel and peripheral vision.
Depending on which visual mode we’re using, our reaction
time differs, as does the angle of the octagon we use.

Since our reaction time is delayed when we’re in tunnel

vision mode, we would use different angles of escape,
depending on the distance between our opponent and
ourselves.

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In tunnel vision mode, as an opponent attacks from a distance
of 12 feet, we would move to angles #5 or #7.

In peripheral vision mode at 12 feet, we can use any angle

other than #1, for total escape.

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At a distance of 6 feet, using tunnel vision, we would use
angles #3 and #4.

At a distance of 6 feet, using peripheral vision, we would use

angles #5 and #7

At a distance of 3 feet, using tunnel vision, we would use

angles #6 and #8.

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At the same distance of 3 feet, using peripheral vision, our
choice would be angles #3 and #4.

Eight Angles of Escape

The angles of the octagon act as a roadmap, if you will, to

give the practitioner directional avenues in which to avoid
contact with an opponent. They also allow the practitioner to
reposition, to avoid taking on the mass of an opponent.

As we look at the octagon angles for the use of escape, we

have to ask ourselves whether we are using them for total
escape from an attacker, or whether we are looking for
momentary repositioning to avoid mass and find a superior

79
angle from which to initiate our attack. This gives us two
different attitudes of escape. The first, and most important,
would that be that of total avoidance of body contact.

Imagine if you were virtually untouchable! Imagine the

confidence you would have. Knowing that no matter what an
attacker threw at you, you had the ability to evade any
contact. In this instance, we use a total escape attitude of the
octagon. View the page on the Octagon for Total Escape for
photos.

If we choose to engage our opponent, but do not want to take

on their body mass while attaining a superior position to
attack from, we must escape and align ourselves for
engagement. In doing so, we must position our body in a way
that easily allows us to use our intended weapon or weapons
for attack (see page on Octagon for Escape & Engagement).
For instance, if we choose to attack with a hand combination,
we would align our triangles towards the at-tacker. This
would give us optimum use of our upper body weapons, for
use when the attacker rotates. (Figures A and B) If we choose
to attack with a yoko geri, or side kick, we must escape and
position that particular weapon for it’s use. (Figures C and D)

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Figure A

Figure B

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Figure C

Figure D

The Center Pole of the Octagon

82
Another very important aspect of the octagon, would be the
center pole. The center pole is very important for several
reasons.

First of all, the center pole represents the neutral zone

between yourself and an attacker. (Figure 1) If you look at the
space between yourself and an opponent, you being at angle
#2, and the opponent at angle #1, this neutral zone in the
middle would be the center pole (Figure 2).

In order for an opponent to grab or hit you, they must occupy

or cross this space. Knowing this allows the practitioner to
occupy that space, and create a jamming effect as the
opponent starts to move forward to attack (Figure 3).

Figure 1

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Figure 2

Figure 3

Secondly, manipulation of any incoming strikes or grabs is

extremely effective in this area. Blocking or parrying as the
opponent settles into a base is less effective because his
weight is moving into a downward stabilizing motion.

When we are settled into a base, we must rappel from that

stance. The weight has to rise slightly, to move effectively.
Our initial rappelling motion is needed to rise to overcome
gravity.

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So, as the body rises, the practitioner loses the foundation. As
a result manipulation of the center and its extremities has a
greater effect on his body structure. Therefore, any block or
parry done at the area of the center pole will catch the
opponent in a weightless state.

Figure 4

Figure 5

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In Figure 4, the attacker shifts the body weight up and
forward, throwing a right punch. The defender moves forward
and meets the attacker’s punching arm at the center pole of
the octagon, disrupting his balance and structure (Figure 5).

The center pole concept is also very useful when dealing with
the striking arts. People naturally position themselves with a
certain amount of space between themselves and other
people. If we understand this, we realize that an opponent has
to move in and take up this space, to actually connect with us.
So, striking to this neutral space is extremely effective for
destruction of the balance and structure of the opponent.
Notice how an attacker needs the neutral space between the
two of you.

Figure 6

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Figure 7

In Figure 6, notice the neutral zone between the attacker and

the defender. This is the center pole area. When the attacker
seeks proper distancing in order to strike, his body will move
into the center pole area of the octagon. The defender merely
needs to move (avoiding the opponent) and strike to this area,
causing the attacker to run into the strike (Figure 7).

As we know, striking an opponent while he is rotating toward

his target catches him in a weightless state. Using the center
pole concept is especially effective on an attacker’s secondary
rotation.

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Figure 8

Figure 9

88
Figure 10

In Figure 8, the attacker steps in to throw a right punch, and

the defender slips out to angle #3 and parry blocks the punch
on an inward angle. This causes the attacker to over-rotate.
The defender aligns triangles towards the attacker’s center.
The attacker will then rotate and move into the area of the
center pole. The defender strikes with a male percussion
strike, which the attacker runs into (Figure 9).

The center pole concept is also very applicable for the use of
joint locks/manipulations. Let’s take a basic joint lock; a
kotegaeshi or outward wristlock. Apply an outward wristlock
on your training partner. Observe the amount of space your
arms need to maneuver, to properly apply the lock.

If we look at the positioning needed to apply this lock you

will notice that you and your partner are basically at angles #1
and #2. Your hands control and manipulate the wrist joint of
your training partner, at the center pole location of the
octagon (Figure 10).

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Figure 11

Figure 12

If your partner were to reposition his body into the center pole
area, you would find yourself jammed and unable to apply the

90
lock, due to lack of maneuverable space (Figure 11). You
would need to step back to regain the space required for
applying the lock (Figure 12).

Figure 13

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Figure 14

Keeping this thought in mind, the practitioner can utilize this

application of the octagon for use in countering an opponent’s
attempted joint lock.

By entering into this space, as your opponent begins to apply

the lock, you steal away the area needed to operate effectively
(Figure 13 and 14). This creates an imbalance in your
opponent’s structure, which allows for application of a
throwing technique (Figure 15 and 16).

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Figure 15

Figure 16

Placement of the Octagon

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The octagon can be used in a variety of ways, giving key
points of understanding for directional application. This gives
the practitioner various alternatives for interaction with an
opponent, for most effective escaping, throwing, and striking.
The following examples are just some of the ways that the
octagon can act as a map for better understanding of
movement and motion.

Placing the Octagon On the Floor

First, let’s look at the octagon placed on the floor, and the
different ways we can apply it. There are several ways we can
interpret the octagon placed on the floor. In Figure 17, the
attacker is at angle #1 of the octagon, and the defender is at
the center pole. From this application, the defender can use all
of the angles for either total escape, or escaping and turning
into the attacker to engage. Figure 18 shows the defender
slipping out to angle #3, and rotating behind his triangles to
engage.

Another interpretation of the octagon placed on the floor,

would be that of the attacker positioned at angle #1 and the
defender positioned at angle #2. In this instance, the defender
would use the center pole of the octagon, as an intercepting
point by which to disrupt and manipulate the attacker’s
aggressive movement (Figures 19 and 20).

94
Figure 17

Figure 18

95
Figure 19

Figure 20

96
Figure 21

Figure 22

97
Figure 23

If we look at how the body moves, and the angles created as

an attacker attempts to strike, we put the attacker at the center
pole of the octagon. Placing the attacker in the center of the
octagon, notice the various angles the body rotates to, in the
process of throwing a strike.

For instance, the body generally starts out with the body
squared towards the opponent. This would be angles #3 and
#4 as in Figure 21. From this position, the attacker will rock
back slightly, as his right hip and shoulder retracts, and the
left hip and shoulder projects to angles #5 and #6 (Figure 22).
This initial motion is the body cocking, so it may rotate and
generate power on the strike.

As the attacker rappels from this cocked position, he will

retract the left hip and shoulder, and project his right hip and

98
shoulder, to strike through the target. This puts his body
position at angles #7 and #8 (Figure 23).

Observe how the body repositions and rotates. Notice what

angles the body moves to. Look at the similarities of motion
when the octagon is utilized. Notice how the body rappels,
moves center, and then settles again to strike. Look at the
various angles the body may be manipulated to, through use
of checking and freezing. Study all these things then relate
them to an opponent’s movement, and your movement as
well.

Placing the Octagon On the Body

Take the octagon and place it on the body and make note of
how it relates to the body. Notice the intersecting points
between various body parts and the angles of the octagon.
The shoulders, hips, and knees, and center, all have a
relationship to these angles.

Take this upright octagon and place it between yourself and

your opponent. Use the octagon in this context, to guide the
opponent’s incoming weapon to a desired angle. Notice the
effects that are created on the body. Look for the folds this
may create.

Observe how parrying or manipulating the incoming punch or

grab to these angles causes the body to over rotate. This
places the opponent in a difficult position when he readjusts
to throw a follow-up strike. Notice how this may set-up the
opponent for various striking or throwing techniques. Now
view how this octagon can assist you when dealing with an
opponent who has applied a grab. Notice how when you are

99
grabbed creasing the elbow to different angles of the octagon
causes different folds and creases. These folds and creases
will help set-up various throws, locks, and striking
techniques. Experiment with placement of the octagon, and
observe!

Octagon Kata & Drills

In the following pages, we will show some of the kata, and

basic drills for use with the octagon, which will enhance the
student’s understanding and use of the octagon. These are by
no means the only kata or drills by which the octagon can be
studied. Many practitioners will start with these drills, only to
see other interpretations as their study deepens. Notice how
the use of the octagon can be incorporated into your studies –
no matter what art you study.

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The basic octagon kata has several uses. First a student must
concentrate on developing good basic fundamentals.
Performance of the octagon kata will enhance the
practitioner’s basic stances, blocking and striking, as well as a
basic understanding of the octagon and its angles. On the
following pages we will demonstrate octagon kata in front
stance (zenkutsu dachi) and in back stance (kokutsu dachi).

Octagon Zenkutsu Dachi

Octagon Zenkutsu Dachi Angle #1

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Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner then steps forward with the left foot (foot is
placed between angles #5 & #1), moving center to angle #1,
into a front leaning stance, or zenkutsu dachi.

After settling in the front stance, execute a low level

sweeping block, or gedan barai.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

102
Octagon Zenkutsu Dachi Angle #2

Starting from the center of the octagon, from a parallel stance,

or heiko dachi, the practitioner raises the arms to cover center.

The practitioner then steps back with the left foot (foot is
placed between angles #8 & #2), moving the center back to
angle #2, into a front leaning stance, or zenkutsu dachi.

103
After settling into the front stance, execute a low-level
sweeping block, gedan barai.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

Octagon Zenkutsu Dachi Angle #3

104
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner then steps back and to the left, with the left
foot (foot is placed between angles #3 & #8), turning center to
angle #3, into a front leaning stance, or zenkutsu dachi.

After settling in the front stance, execute a low level

sweeping block, or gedan barai.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

Octagon Zenkutsu Dachi Angle #4

105
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner then steps back and to the right, with the
right foot (foot is placed between angles #4 & #6), turning
center to angle #4, into a front leaning stance, or zenkutsu
dachi.

After settling in the front stance, execute a low level

sweeping block, or gedan barai.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

106
Octagon Zenkutsu Dachi Angle #5

Starting from the center of the octagon, from a parallel stance,

or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps out with the left foot (foot is placed
between angles #5 & #3), turning center to angle #5, settling
into a front leaning stance, or zenkutsu dachi.

107
The practitioner then executes a low-level sweeping block, or
gedan barai, with the left arm.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

Octagon Zenkutsu Dachi Angle #6

108
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner pivots the right foot. and steps back with the
left foot, placing it between angles #2 & #6, settling into a
front stance or zenkutsu dachi.

The practitioner then executes a low-level sweeping block, or

gedan barai, with the right arm.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

Octagon Zenkutsu Dachi Angle #7

109
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps out with the right foot (foot is placed
between angles #7 & #4), moving center to angle #7, settling
into a front leaning stance, or zenkutsu dachi.

The practitioner then executes a low-level sweeping block, or

gedan barai, with the right arm.

The practitioner then rappels from the front stance, back to a

parallel stance at the center of the octagon.

110
Octagon Zenkutsu Dachi Angle #8

Starting from the center of the octagon, from a parallel stance,

or heiko dachi, the practitioner raises the arms to cover center.

The practitioner pivots the left foot and steps back with the
right foot, placing it between angles #2 & #8, settling into a
front stance or zenkutsu dachi.

111
The practitioner then executes a low-level sweeping block, or
gedan barai, with the left arm.

The practitioner then rappels from the front stance, back to a

parallel stance, at the center of the octagon.

Octagon Kokutsu Dachi

Octagon Kokutsu Dachi Angle #1

112
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps forward with the left foot in kokutsu

dachi, or back stance, while moving his center to angle #1.

He then executes a left shuto, or knife hand strike.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

Octagon Kokutsu Dachi Angle #2

113
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps back with the left foot in kokutsu dachi,
or back stance, while moving his center to angle #2.

He then executes a right shuto, or knife hand strike.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

114
Octagon Kokutsu Dachi Angle #3

Starting from the center of the octagon, from a parallel stance,

or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps out to angle #3, with the left foot, into a
kokutsu dachi, or back stance.

115
He then executes a left shuto, or knife hand to angle #3.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

Octagon Kokutsu Dachi Angle #4

116
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps out to angle #4, with the right foot, into
a kokutsu dachi, or back stance.

He then executes a right shuto, or knife hand to angle #4.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

Octagon Kokutsu Dachi Angle #5

117
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps with the left foot, out to angle #5, into a
kokutsu dachi, or back stance.

He then executes a left shuto, or knife hand.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

118
Octagon Kokutsu Dachi Angle #6

Starting from the center of the octagon, from a parallel stance,

or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps back with the left foot to angle #6, into
a kokutsu dachi or back stance.

119
He then executes a right shuto, or knife hand. Center is facing
angle #5.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

Octagon Kokutsu Dachi Angle #7

120
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps with the right foot, out to angle #7, into
a kokutsu dachi, or back stance.

He then executes a right shuto, or knife hand.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

Octagon Kokutsu Dachi Angle #8

121
Starting from the center of the octagon, from a parallel stance,
or heiko dachi, the practitioner raises the arms to cover center.

The practitioner steps back with the right foot to angle #8,
into a kokutsu dachi or back stance.

He then executes a left shuto, or knife hand. Center is facing

angle #7.

The practitioner then rappels from the back stance, to a

parallel stance, at the center of the octagon.

Practice the preceding octagon kata using zenkutsu dachi

(front stance) and kokutsu dachi (back stance). Start from the
center of the octagon, moving your center to the direction of
the intended angle of the octagon. After settling into the
stance, return to a parallel stance in the center of the octagon.
Notice the muscle groups that must initiate the motion to
propel the body in the proper direction.

122
Observe and feel lower body manipulations that will enhance
your transitional motion, from one step to the next.

Next, perform the same drill, this time working two angles
together.

Angles #1 & #2

Starting position at the center of the octagon

Step with the left foot and move your center to angle #1, into
a front stance and execute a down block. Immediately after
settling into the stance and performing the block, bring arms
in to cover center and rappel from the stance, initiating the
motion to move to the back angle.

Finish by stepping back with the left foot, moving your center
back to angle #2.

Rappel from the stance at angle #2, pushing the body back to
a parallel stance at the center of the octagon.

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Angles #3 & #4

Starting at the neutral position in the center of the octagon,

bring the arms up to cover center, as the left footsteps back to
angle #8.

Rotate center to angle #3, and execute a low block.

Bring the arms in to cover center, left (rear) leg steps across
to angle #6.

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Rotate center around to angle #4, and execute a low block.

125
Angles #5 & #6

Rappel from that stance back to neutral position facing angle

#1.

Bring the arms up to cover center, left footsteps out between

angles #3 and #5, and rotate center to angle #5 as you execute
a low block.

Rappel from this stance as you bring the arms in to cover

center, as you rappel from the front stance with the left foot,
moving back through the center pole.

Continue this motion, bringing the left foot back and placing
between angles #2 & #6, settling into a right foot forward
front stance. Align center to angle #5 and execute a right low
block.

126
Angles #7 & #8

Rappel back to neutral stance facing angle #1.

Step with right foot out between angles #7 & #4, while
aligning center to angle #7. Execute a right low block.

Rappel from this stance, bringing right leg back through the
center pole area, as the arms come in to cover center.

127
Continue this motion back, setting the right foot down
between angles #8 & #2 into a left foot forward front stance.
Align center towards angle #7 and execute a left low block.

Return to the center pole area of the octagon, in a neutral

stance, facing angle #1.

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This same kata should also be done using kokutsu dachi,
sanchin dachi, and neko ashi dachi. As the practitioner is
practicing these kata, take note of the muscle groups that
energize or tense, to initiate the next movement. Also note
how the feet make natural adjustments, setting or loading up,
to propel the body.

There is a wealth of information to be gained by studying and

working with the octagon. As you study, you will see various
applications that will enhance your training. Take your time,
observe movement and motion, and apply it to your martial
arts training, and apply it to your daily life.

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130
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132
CHAPTER 6

Concepts of Study

Concepts

As we go through life, we start to notice that there is

something deeper to what we do. We come to a realization
that there are principles all around us, whether it be
philosophical principles which guide us in daily life, or
martial principles that allow us to execute a technique with
less effort and more economy of motion. Whether we admit it
or not, the fact is we are governed by these principles. You
can deny this, only to feel that you seem to force your way
through life and feel as though there is resistance to
everything you do. Do you ever feel this way? Of course, we
all do from time to time.

As a member of society, laws that establish boundaries of

action and behavior govern us. These laws/principles of
society are put into place to keep balance and harmony among
individuals in a community. If we break these laws/principles,
there are consequences we must face.

In your martial arts, these concepts/principles are there for

much the same reason; to guide you and allow you to perform
your art with balance and harmony, blending with your
opponent and flowing with whatever comes your way. In life,
when we are in a balanced and proper frame of mind, things
seem to flow and fall into place without an excess of effort
and stress. Our performance of our martial art should be no
exception.

133
But the nagging question seems to be: How do we arrive at
this point? How do we start to notice and understand these
concepts? Obviously, there is a process to this, just as in life.
It is a journey, one for which a guide is very necessary. We
can go through life learning the HARD way, or we can pay
attention our teachers/guides for the insights that will enhance
our journey, making it a smoother, more enjoyable process.
Children come into this world and set out on their journey of
development. They are guided and taught by their parents,
schoolteachers and mentors along the way. These guides/
teachers are there to awaken us all to things that are not
readily seen, helping us grow and gain an understanding of
life and its lessons.

Each of these teachers has gone through the same process

before us. In the martial sense, we make up our mind to learn
the basic fundamentals of the art. Then we must perform
countless repetitions to internalize them. Then finally, the
student will start to see underlying concepts that govern these
motions and provide options for different applications. This
process must be done under the watchful eye of a good
teacher, pointing out the necessary lessons and principles
along the way as the student becomes ready. The teacher is
there to guide and point out things to make the students’
journey productive and to assist them through the pitfalls of
their training, as well as humble them when needed.

Yet it is not enough to have a good teacher. The student must

be a willing participant in this relationship. A good student
must first have two things: trust and faith. The student must
trust that the instructor’s demands are in his best interest. The
student must also have faith that the instructor will teach him
the proper information at the proper time in his development.

134
An experienced instructor knows what information a student
is ready for, and when they will be prepared to accept it.

We’ve all heard the saying “When the student is ready, the
teacher will appear.” What does that mean? This can have
several meanings. First of all, the student may be searching
for something in particular. As the student begins to realize
what qualities and qualifications are needed, doors will open
and eventually he will find the teacher needed to fulfill these
needs. Secondly, we can look at the notion that the
information can be the teacher. Even as the student is exposed
to it, he may not be at a developmental stage in which he will
be able to understand and appreciate it. Yet another way of
looking at this would be to realize that sometimes we must
also act as our own teacher. By this I mean we must perform
countless repetitions and begin to look deeper into things. We
must ask questions, study the teachings of great masters, and
develop an eye for watching our teachers’ movements,
attitudes, and the feeling they project when demonstrating. So
remember: “When the student is ready, the teacher will
appear.”

In the following pages of this chapter, we will be looking at

concepts that can lead to a deeper understanding of any style
of martial art. You may ask; “How can principles or concepts
from Kosho Ryu Kempo help with my art?” The reality is,
these concepts are not unique just to Kosho Ryu Kempo.
Kempo is a study, not a style. These principles are based on
natural laws, which governs movement and motion, and
therefore governs all martial arts.

These concepts/principles exist in every art form. They are

observations of people involved in study, who have looked

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deeper into what they do. Different people have said many of
the things said in this book before, in different ways. The
words in this book are merely my interpretation of
information that has been passed on to me. Information can
take on many different meanings or interpretations, depending
on the individual, his/her experience, and where he or she is
on the path of this journey.

As you study the following pages, look deeply into what you
read. Look at how it applies to your martial study. Then look
at how the principle or concept can apply to your personal
and professional life. Look for the similarities in your martial
art and your daily life. Let the concepts allow you to see
things from a different perspective, and above all else, enjoy
the process or the journey.

In the next few sections we will delve into some of these

natural laws and principles.

The Leaning Factor

The leaning factor relates to a natural motion that takes place

when someone wants to move from one posture to another.

For instance, in order to take a step, the body must shift the
weight to one of the feet in order to take a step or reposition
the other foot. This is the natural process of walking we all do
without thinking about it. In the martial sense, by using the
leaning factor we are using a preparatory motion to adjust our
weight in advance of the attack. Kosho Ryu is an art that is
preparatory in nature instead of reactionary. In an art that is
reactionary, the defender would (without thinking) take this

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action when they see the attack beginning, therefore making it
more difficult to move on time.

In Kosho Ryu, the student is trained to create an illusion for

his opponent. The leaning factor not only shifts/repositions
the weight prior to the attack for ease of movement, but also
creates an illusion of where the defender’s center is
positioned. In a sense, we are baiting the opponent to attack
where he perceives our center (his target) to be, when actually
we are somewhere else. (Fig. #24 & #25)

Figure 24

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Figure 25

Through the process of understanding how the leaning factor

enables us to move with ease and proper timing, we must also
look at these principles and how they govern our opponent’s
motion as well.

Realize that the opponent must shift his weight in the opposite
direction of the intended attack in order to project his strike.
How can we use this information to our benefit?

Perform the following drill: Have your partner throw slow

punches at you. You in turn will work your leaning factor
(preparatory posturing) and escape to different angles of the
octagon each time your partner strikes, staying at medium
range distance from your partner. Contact his/ her arm or
shoulder immediately after avoiding each strike to feel your
partner’s next motion. Your objective in this drill is to feel

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how your partner must initially shift his weight for each
strike. By performing this drill slowly, you can see and feel
that there is a preparatory shift in weight needed to create the
ability to strike or grab you. It is very important to recognize
this.

Once you are comfortable you can feel this shift, proceed.
This time perform the same drill, but escape and maintain a
shorter (closer) distance to your partner. After each punch and
escape, place your hand lightly on different places of your
partner’s body. When your partner attempts to strike again,
feel for the initial body shift and manipulate/push in that
direction. You should be able to put your partner off-balance
with a relatively small amount of force. This drill is geared
towards developing sensitivity in feeling your partner’s
preparatory shifting of weight and manipulating him to make
his objective more difficult.

Remember to work these drills slowly to observe and gain

sensitivity to feel these concepts.

Visual Skills: Peripheral vs. Tunnel Vision

The use of peripheral and tunnel vision and the understanding

of when to use each mode of vision are extremely important.
For instance, understanding that the use of peripheral vision
will allow you to detect motion much more quickly and allow
you to move on time.

Why is this possible? The eyes contain rods and cones, which
pick up motion, color, shapes and texture. The brain must
process this information, so the more detail you are looking
for, the longer it takes. Tunnel vision is the mode of vision

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you would use when you are taking in a great amount of
information or require a great deal of focus. Peripheral vision
sense shapes and movement but discards much of this detail
and therefore registers the image faster.

For instance, if you are looking at a painting, you are taking

in the detail of the painting such as color, texture, etc. Your
brain is processing this information in order for you to enjoy
the painting and get a sense of what the artist meant to relay
through his or her work. For this application, tunnel vision is
appropriate. You have no immediate need to move or
reposition your body in this situation.

On the other hand, peripheral vision does not take in as much

detail for the brain to process. In an application where you act
or reposition your body, peripheral vision is far superior. If
you look at an object peripherally, you are not picking up a
great amount of detail, therefore visually picking up motion
quicker for you to act and reposition your body.

Try this exercise the next time you are in your car stopped at
a red light: Look at the light in tunnel vision mode. You
objective is to react to the light changing to green and step on
the gas to pull out. Notice the length of reaction time from
seeing the light change to stepping on the gas. At the next
stoplight, look at the light in peripheral vision mode and again
notice the reaction time taken to respond to the changing
light. You should notice when using peripheral vision, your
reaction time should be greatly reduced.

Another very important aspect of tunnel vision is its tendency

to connect or draw you in to whatever you are looking at. For
instance, when driving your car into a sharp turn, notice how

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when you look at the curve instead of looking through the
turn, how you seem to be drawn into the turn. If when you
drive into a turn, you focus your tunnel vision on looking
through the turn, you are not pulled or drawn into the side of
the road. So, in a self-defense situation where an attacker is
attempting to hit you, looking at him with tunnel vision will
actually establish a connection and draw you into him.

Now take this concept and apply it to a training partner

punching at you while using tunnel and then peripheral
vision. In tunnel vision you will most often have to move in a
backward manner before angling side-ways to avoid the
strike. (Figure 26) When using peripheral vision you will be
able to move to a side angle with greater ease.

Now apply what you’ve learned about the leaning factor and
combine it with the use of peripheral vision. Take a
preparatory posture with your partner, leaning slightly to one
side.

The lean is accomplished by lifting the heel on one side

(keeping knee straight) to shift the body to the other side.
Using peripheral vision mode, have your partner punch
quickly at you. Your objective is to move (sideways) as soon
as you detect motion. Your reaction time and ability to move
should be quicker and easier. (Figures 27 & 28)

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Figure 26

Figure 27

Figure 28

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Figure 29

Peripheral vision also broadens the area of your visual plane,

allowing you to detect motion in a much broader area. This is
extremely helpful when dealing with multiple attackers,
allowing you enhanced timing for evasion and interception of
the attackers’ motion. When dealing with multiple attackers,
you cannot focus on any single attacker. (Figures 27-29)

In this chapter we’ve discussed quite a bit about peripheral

vision and it’s advantages in relation to martial arts and
escaping. We must also realize that tunnel vision is equally
important. When dealing with evasion and escaping,
peripheral vision is superior, but in attack mode tunnel vision
is extremely important for focus and direction of speed,
power, and projection of your spirit. So when dealing with the
attack, we use peripheral vision to enhance our escaping &
repositioning skills until we have placed the attacker in a
vulnerable position. We then switch to tunnel vision for the
attack enabling us to deliver powerful, focused strikes.

Peripheral vs. Tunnel Attitude

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As students of the martial arts and life, we must always look
to translate the martial physical concepts into principles to
enhance our daily lives. In this instance, we look at peripheral
and tunnel vision, and translate vision into attitude. How can
we use what we know about peripheral and tunnel vision to
guide us in our daily lives?

When someone has a peripheral attitude towards what they

are doing, they have a flow about them. Let’s first relate this
to a martial technique. You are attempting to perform a
throwing technique on your opponent. As you apply the
technique, you create an effect (off-balancing him/her) but do
not get the desired result (throwing opponent to ground) you
anticipated. With peripheral attitude, you will take the effect
(off-balance) presented to you and flow into another course of
action to finish the opponent.

This may mean changing the initial direction of the throw or

flowing into a striking combination, ending with the defeat of
your opponent. If you were to have a tunnel attitude towards
the technique you are applying, and do not get the anticipated
result, you will probably try to force the technique into
working. This usually results in frustration. Learn to take the
effect you create and flow with it into another option. Don’t
allow your prejudices to dictate your course of action.

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Is this any different than how we should deal with daily life?
Wouldn’t our lives be more fulfilling if we learned to flow
with challenges in our lives? How much stress could you
eliminate in your life by adapting the concept of Mizu No
Kokoro (mind like water) into your life? Water is one of the
most powerful forces in nature. Water doesn’t care how it
gets to its destination. It takes the path of least resistance and
moves around blockages and challenges. Taking on a
peripheral attitude can help us accomplish this.

However, having a tunnel attitude in life is also extremely

important when the situation requires it. How often in our
lives do we struggle to gain proper focus to achieve a goal or
overcome a challenge? When it comes to a goal, we must
concentrate our efforts into specific steps necessary to reach
our objective. We must lay out a strategy and create a map to
reach our desired destination. We must attack overcoming a
challenge in much the same manner. When faced with a
challenge or problem, we must focus on the solution instead
of the problem.

Focusing on the solution directs our energies forward in a

positive and concentrated manner. Focusing on the problem
wastes energy and creates imbalance in our lives. So as you

145
can see, having a tunnel attitude is equally important as
having a peripheral attitude. The key is to recognize when and
where to use each attitude to our greatest benefit. Having the
ability to have a focused, concentrated effort towards what we
wish to accomplish and the ability to be flexible and
adaptable when roadblocks come our way, allows us to
become masters of our own destiny.

Projection and Retraction

We must understand the projection and retraction of the body

and how each one is reliant on the other. Realize that every
time we project a part of our body, there is a retracting motion
that also takes place. How can we use this information to
enhance our martial ability?

In the basic manner of throwing punches from a chambered

position, our focus is usually on the projecting part of the
punch. For now though, let’s concentrate on the retracting
side. Let your retracting side start the motion and pull that
arm back quickly using that same side hip and shoulder. You
should notice quite a difference in the speed and power
generated from this exercise. Realize that the projecting and
retracting sides must work together.

Now try the same exercise, this time concentrating on starting

the motion with the retracting side (pulling back quickly) and
twisting and transferring the speed and power into the
projecting side. You should be able to generate a greater
amount of speed and power from this exercise, as well as
understanding how the two sides of the body must work in
unison with each other. There is a certain balance that must be
applied for optimum results.

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Let’s look at the motion needed to project a front thrust kick
(mae geri). In order for the lower body to project the leg
forward, the upper body must lean back or retract slightly.
The higher the kick, the more lean or retraction of the upper
body is necessary. Try to kick without this counter balance
and note the awkwardness and loss of power.

These are just a few examples of basic body motion that are
governed by natural law. If we understand the laws that
govern our bodies, we can start to look at how we can apply
and use this against an opponent. For instance, in order for an
attacker to throw a second punch (secondary rotation), he
must retract the projected side and rotate the body to project
the opposite side of the body, crossing his center to find you.
Any manipulation of that retracting side will affect the
projecting limb. Whether that manipulation is freezing or
stopping the retracting side, speeding it up, or manipulating
the arm up or down, it will have an effect on the intended path
of the projecting side. Practice this slowly with a partner to
gain an understanding of this concept.

When we look at the concept of projection and retraction, the

thought of balance should come to mind. With this in mind,
we must also look for the philosophical applications for daily
life. In this sense, what we give to the universe (family, jobs,
hobbies, community, giving/doing for others, etc.) would be
projection. Retraction would be what we receive from our
universe (time to rest, companionship, love, satisfaction for
what we do, money, etc.) are equally important for balance in
our lives. Understand that there must be a balance between
the giving and taking we do in our lives. Too often we end up
focusing and placing more importance on one or the other.

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Technique Evolution-Large to Small

Evolution is something that usually takes place naturally in

life. The general process of development of everything we do
or create is usually “Large to Small.” Think back, if you can,
to the first computer system, cell phone, or an early
automobile. Think about how big your letters were when you
first started writing the alphabet. It seems this is a natural
process of evolution. This concept applies to the evolution of
a student’s martial technique, but as importantly, his or her
personal development. As beginners, it is much easier for us
to see and imitate large motions. It is easier to see the
physical workings of a martial concept in a large technique,
than in that of a tight, concise or subtler technique.

Let’s look at some basic martial techniques and compare the

use of this concept.

Technique #1 – Basic avoidance & parry block

Defender starts with target manipulation by leaning to angle

#4 (Figure 30).

Figure 30

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Figure 31

Figure 32

Attacker strikes with a right punch, defender steps out to

angle #3 to avoid the punch (Figure 31). After repositioning,
the defender executes a left-right parry block (Figure 32).

Technique #1 – Using minimal motion escaping & blocking

In the following sequence, the defender is going to perform

the same technique, only with much smaller and tighter
motion. The defender starts with the same leaning motion in
Figure 33. Then as the attacker strikes with a punch, the

149
defender will shift his weight back to angle #3 and project his
right hip and hands (forming a triangle) out to angle #5,
escaping the path of the strike and placing hands outside
punch (Figure 34). In Figure #35, the defender rotates his hips
and adjoining triangle, which parries the strike.

Figure 33

Figure 34

150
Figure 35

Figure 36

151
Figure 37

Figure 38

Technique #2 Cross wrist grab with basic repositioning

In technique #2, the attacker grabs the defender’s right wrist

with his own right hand (Figure 36).

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Figure 39

Figure 40

153
Figure 41

In an attempt to take on less mass or weaken the strength of

the attacker’s grab, the defender steps out to the left (angle
#3) and traps the attacker’s grabbing hand (Figure 37).

By repositioning to the outside of the attacker’s right hip, the

defender is able to circle the grabbed hand around to apply a
basic lock to attacker’s wrist (Figure 38).

Technique #2a Using minimal motion repositioning

The attacker performs a right cross wrist grab (Figure 39).

In this variation, instead of stepping outside of the area of

attacker’s center or strength, the defender rotates and projects
his right hip to the outside of the attacker’s right hip and traps
the grabbing hand (Figure 40).

This repositioning pushes the defender’s body and grabbed

hand to the outside of the attacker’s strength and to the
outside of his grabbing arm, allowing ease in applying the
basic wrist lock. (Figure 41).

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It is a natural part of the learning process, to identify and
imitate large movements. This gives us the basic foundation
on which to build on. But realize that the larger the motion,
the larger the voids in that motion. These voids are what your
opponent wants to fill in order to intercept and counter your
action, to defeat you.

Experiment with ways to tighten up your motion, whether it’s

a basic fundamental, a kata, or a specific self-defense
technique. Remember to take into consideration the laws of
balance, proper triangulation, and the use of 7/10 when
projecting any type of strike or block (the concept of 7/10 will
be discussed later in this chapter). These guidelines will help
tighten up your motion, as well as eliminate voids for the
attacker to fill.

It is important to refine our martial abilities, but equally or

even more important is our refinement as a person. How can
we accomplish this in terms of our personal development?
Large to small can relate to our refinement of our mental
focus, streamlining areas of our life that need more
organization, focusing attention on vital areas of importance
in our life, conserving the amount of energy we use and
directing that energy in areas of importance.

155
What areas of your life could you better direct and focus your
energies on? Maybe your professional life, your personal
relationships, or certain life goals or dreams you may have?

Contour Striking/Crease Striking

The strategic use of striking to manipulate the body into each

of your strikes is known as Contour Striking. When using this
concept, the student must be aware of how the body reacts to
being struck, how striking the creases of the body causes
folds and brings the body into incoming strikes. Let’s look at
how the body naturally responds to a strike.

In Figure 42 through 44, you’ll see some of the different

effects caused by certain strikes.

In Figure 42, the attacker is arched backward from a strike to

the face. In Figure 43, the attacker is folded forward by
striking the waist crease.

The last photo (Figure 44) shows striking the arm downward
to bring the head in to be struck.

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Figure 42

Figure 43

157
Figure 44

Learning how to use and target your strikes to cause different

effects on your opponent’s body is essential. Experimenting
with a training partner to learn what strike causes what effect
is of the utmost importance. Study the creases and how to
manipulate them by striking to set up your attacker for
follow-up strikes. In the next couple of pages we will show
some examples of Contour Striking or Crease Striking.

Figure 45

158
Figure 46

Figure 47

159
Figure 48

Figure 49

160
Figure 50

In this sequence of photos, the attacker throws a right punch

to the head, and the defender steps/ escapes out to angle #3
and aligns mid-level triangles (Figure 45). In Figure 46, the
attacker rotates to throw a left punch, but the defender attacks
the waist crease with a right front thrust kick to bring the
attacker’s head into range of a hand strike. The defender then
slides in and strikes with double-crossing palm strikes (Figure
47). The defender then flows from double palms into a right
elbow strike (Figure 48), right back fist (Figure 49), left palm
heel strike, which arches the attacker back (Figure 50).

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Figure 51

Figure 52

162
Figure 53

Figure 54

In the next example, the attacker throws a right punch and the
defender slips inside to angle #4, and aligns triangles (Figure
51).

On the rotation of the attacker’s second punch, the defender

offsets the attacker’s balance by striking to the face with the
left hand (Figure 52).

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The defender then strikes the waist crease in a downward
angle, to fold the body forward, bringing the head into
striking range (Figure 53).

This allows the defender to finish with an elbow strike to the

head (Figure 54).

Manipulation of your attacker’s creases contributes to the

destruction of his balance and structure. As we destroy
structure, we take away the attacker’s ability to strike freely,
with speed and power.

Striking and manipulating creases is also a powerful tool to be

used in the practice of your throwing arts. As an individual
grabs you he structures his footwork and body around that
grab. In the following example, the attacker grabs the left
lapel of the defender (Figure 55). The defender then strikes
the elbow crease, directing it down and in towards the center
line (Figure 56), then front thrust kicks to crease the knee
(Figure 57). This strike removes the attacker’s ability to strike
with the free hand, as well as destroys all structure and
balance. (Note: You must keep the elbow creased, keeping
the body folded.)

The defender then strikes upward into the face with a palm
heel. This creases the neck and arches the spine (Figure 57).
The defender maintains the arch of the attacker’s spine, and
moves his center into the attacker, throwing him to a
backward angle (Figure 58).

164
Figure 55

Figure 56

165
Figure 57

Figure 58

166
Figure 59

Triangulation

Triangulation is a very important concept that will be used in

almost every aspect of your martial arts, from your blocking,
striking, throwing, and joint locking. When we are discussing
this concept, understand that there is YOUR triangulation that
you need to be aware of, AND your attacker’s triangulation.
Let’s look at both perspectives.

Your Triangulation

When we talk about your triangulation as a defender, we need

to look at several triangles on the body. The easiest one to see
would be one of your upper body triangles, which would be
from shoulder to shoulder to point of contact with the hands
(Figure 60). When we operate from this position, we move
more easily, block and strike more effectively, and are able to
execute throwing and locking techniques more efficiency.

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Everything we do is stronger and more effective when done
from center. Would you attempt pick up a heavy package
without aligning your center with what you want to lift? No,
you center yourself with the object naturally. You don’t really
have to think about it. Then why don’t we perform our martial
arts with that attitude? In my mind, it’s because we fail to
recognize the similarities between natural everyday motion
and our martial arts movements. We need someone who has
traveled the path before us to point out aspects that we cannot
see at the time.

Below are three more examples of your personal

triangulation. Figure 61 shows the triangle base starting from
third eye to hara, and then extending to point of contact with
the hands. Figure 62 shows the base from hip-to-hip,
extending to point of contact with the hands. Figure 63 shows
the base of the triangle being knee-to-knee or foot-to-foot, to
the point of contact with the hands.

Look at the following examples of a blocking technique.

Notice the different body mechanics and attitude of the
technique. Ask yourself which posture and attitude you would
rather have when engaging an opponent. Both techniques
have application and validity, but consider which posture and
attitude fit which specific situation. In our martial arts, as well
as in life, we need to make sure that our action or responses
properly fit the situation. To think otherwise is like taking a
knife to a gunfight!

168
Figure 60

Figure 61

169
Figure 62

Figure 63

170
Figure 64

Figure 65

171
Figure 66

Figure 67

172
Figure 68

Figure 69

In the above photos, the defender steps out of the path of the
punch and executes a middle block. Notice how the
defender’s center is facing off to the 45-degree angle, making
it difficult to employ his weapons against further attack. On a
secondary punch the easiest option is a total escape in this
direction.

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In the second set of photos, the defender steps out to angle #3,
escaping the path of the punch, then executes a middle block
and rotates his center toward the centerline of the attacker.
Notice the triangles formed by the defender. The aligning of
the back hip is essential to load the body for attacking the
opponent. Could he perform effective and timely blocking,
hand striking, or kicking from this position? Yes, his
triangulation is proper for this. In the last photo, he engages
with a hand combination.

Proper

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Improper

Now start to look at your throwing, striking, and locking.

How can you use triangulation to effectively enhance these
other areas of your martial arts?

When applying a joint lock, be sure to align your triangles to

the joint that you are locking. Keeping your center lined up
with the opponent allows for better weight transfer and
weight settling into the lock. It is very easy to allow your
center to drift away and disconnect with your hands during
transitions in a locking technique. If this connection is
disrupted, the strength and integrity of the lock will be
compromised and will allow the opponent to counter it.
Remember that keeping the elbows in close to the body
allows for tighter, more effective triangles.

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Back

Front

Opponent’s Triangulation

In thinking about your opponent’s triangulation and how to

best manipulate body structure and balance, we must look at
the attacker’s base.

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If you are attempting a throwing technique on your attacker,
look at the position of his/her feet. Using the feet as the base
of the triangle, find the point of the triangle in front and to the
back of the attacker. These are the two directions in which it
is easiest to put your opponent off-balance. Think of yourself
sitting on a three-legged stool. If suddenly one of the legs
were to break, your body would fall in that direction.

This is a very simple concept for even the beginner student to

grasp, but extremely important for learning to recognize how
to create loss of balance. Manipulating the attacker’s body
structure in these directions will result in limited balance and
stability.

The concept of triangulation is an extremely important

principle to understand. Use of this concept provides options,
which in a self-defense situation is invaluable. Experiment
with a training partner employing triangulation in your
blocking, throwing, striking, and locking. See the possibilities
that were not readily seen before...enjoy the process!

Concepts of 7/10 & Move Twice

Any projected motion should be executed with the force of 7,

the secondary motion done with the force of 10. The concept
of 7/10 is vast. It is a concept that can be applied in all areas
of escaping, throwing, locking, and striking.

Let’s explore some examples of this concept. A basic

example of this concept would be in the application of a
punch. When we strike an opponent with a punch, our
objective is to penetrate the target area and introduce
destructive energy. If we strike and penetrate the opponent’s

177
body, and do not retract our motion immediately after impact,
two things will happen. One would be that you allow your
striking limb to be grabbed or struck. The second would be
that energy projection from your strike would be ineffective
due to the maintained connection between you and your
opponent. If you strike an opponent and retract quickly after
impact, your energy will enter. If instead, we maintain contact
after impact, the energy will reverse back into the striking
limb. Thus, the retracting motion should be done faster than
the projected motion.

Another example of this concept would be implemented in

your escaping. In this instance, the attacker is preparing to
throw a right punch (Figure 70). The defender is already
positioning himself by leaning toward angle #4. The attacker
throws the right punch, and the defender slips out to angle #3
(Figure 71). The attacker immediately throws the left punch,
and the defender slips back to angle #6. The second escape is
done faster than the first; due to the fact the attacker is
following the momentum of his first punch (Figure 72).

Let’s look at another example of how to use 7/10, and

introduce the complementary concept of Move Twice in an
application of joint locking. Sometimes when we apply a joint
lock, the defender may reposition a leg to regain stability, in
order to resist the lock. To try to continue applying the lock in
the same direction can be difficult since the attacker’s base
has readjusted. In Figure 73 the defender is attempting to
apply an outer wristlock. As the attacker feels the loss of
balance, he moves his right foot out to stabilize. The
defender, feeling the resistance to the lock, rotates the lock
towards his right, causing the attacker to adjust once again
(Figure 74).

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Figure 70

Figure 71

179
Figure 72

The defender immediately rotates back to the left to reapply

the lock (Figure 75). This second rotation is done faster than
the first to keep the attacker off balance.

Figure 73

180
Figure 74

Figure 75

As with the above example, the Move Twice Concept teaches

a student how to deal with resistance when applying a
technique. The student must first understand the concept, and
how it applies to the technique. Then, the student must
develop a feel for the attacker’s resistance, and how to
properly apply it.

Let’s take the following example. The attacker throws a right

punch, and the defender slips inside punch to angle #4 (Figure

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76). The defender guides the punching arm down and in,
creating a fold on the attacker (Figure 77). Immediately
following the fold, the defender strikes the attacker’s face,
with a forearm strike to arch the spine (Figure 78). The
defender then rotates the left leg behind, pivoting the hips and
upper body, to complete the throw. As the attacker feels his
loss of balance, he repositions his right leg for support,
allowing himself the ability to resist the throw (Figure 79).
The defender, feeling the resistance, immediately reverses the
direction of the throw towards the back triangulation point to
finish the throw (Figure 80).

Figure 76

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Figure 77

Figure 78

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Figure 79

Figure 80

Resistance–Adjustment–Redirection

Life doesn’t always go as planned...in fact it rarely does!

Whether you’re talking about the execution of a martial arts

technique or simply plans made in daily life, complications
arise, variables change.

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The ability to adapt to changing environmental circumstances
or factors is one of the most important aspects of survival.
When we feel resistance in our personal lives, professional
lives, or in our martial arts, we need to recognize it for what it
is...conflict.

First we must identify the conflict. Then, we must analyze it.

Is this conflict worth acknowledging?

Must it be addressed?

If it must be addressed, what are our options?

Is compromise an option?

If so, we must negotiate and move on towards our intended

goal.

If not, what action must we take to accomplish our intended

objective?

The Concept of Resistance–Adjustment

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Figure 81

Figure 82

186
Figure 83

Figure 84

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Figure 85

Redirection is merely another way of dealing with what

comes your way, with a peripheral attitude. In the martial
sense, when an attacker is providing resistance or has
countered our intended technique, we must have the skills and
the options to end the conflict.

In the following example of this, the attacker has grabbed the

defender in a choke (Figure 81).

The defender attempts to apply an outward wristlock to throw

the opponent (Figure 82).

As the defender applies the lock, the attacker readjusts his

footwork to regain balance and provides resistance against the
attempted lock (Figure 83).

The defender, feeling the resistance, uses the existing folds of

the body and strikes upward to arch the head and spine back
toward the attacker’s triangle point (Figure 84).

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The defender stays connected with the strike, stepping into
the attacker, applying a throw to the back angle (Figure 85).

Elbow Awareness

Awareness of the positioning of our elbows has a dynamic

impact on the effectiveness of our martial arts technique. How
we position and apply our elbows in the process of a martial
arts technique, or in an everyday task, can make all the
difference when it comes to a balanced, efficient motion. The
concept of Elbow Awareness, is yet another factor which is
essential to understanding balance, and as importantly, to
understanding how to negatively affect someone else’s
balance.

Notice how keeping the elbows in close to our bodies when

performing common tasks, allows for a more stable, balanced
motion. Notice how, when reaching for something, we
naturally keep the elbow positioned downward towards the
ground. Understand that any rotation of the extended arm,
which rotates the elbow joint outward or inward, directs the
body’s balance in that direction.

Try this exercise…

Reach for a glass of water, or small object that is just out of

reach, in front of you. Notice that as you extend your arm and
elbow, once you pass a certain point, your body starts to lose
balance in that direction, due to the body’s natural folding to
eliminate the distance between you and the object. Now,
recreate the same reaching motion, only this time, experiment
by rotating the elbow in an outward and inward direction.

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Notice how manipulating the direction of the elbow shifts the
balance of the body in that direction.

Understand also that there is a direct relationship between the

elbow and the knee. For instance, notice how when the elbow
is creased, from a grab situation, the knees tend to crease or
bend also. When we tense or lock our elbows, we eliminate
the mobility of our knees. With this in mind, the awareness of
how we posture our own elbows promotes better balance and
structure.

Taking this information, now we must study how

manipulation of an opponent’s elbow, can offset his balance
and structure. Notice how manipulating an opponent’s elbow
in different directions, rolls the weight to various parts of the
feet. If we direct or manipulate the elbow in towards the
opponent’s center, the weight and balance point shifts back
onto the heels.

Take a moment and experiment with this. Stand in a natural

posture and throw a punch at an imaginary opponent. As you
retract the arm, draw the elbow back into your center and
touch your chest. You should feel the balance point shifted
back onto your heels. Feel how difficult it is to throw a
powerful, effective second punch from this position.

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Now, repeat the same exercise, this time on retraction of the
arm, suddenly push the elbow outward, as if an opponent was
manipulating it. This motion shifts the balance point to the
balls of the feet. Again, as the weight shifts to the balls of the
feet, try to throw a powerful, effective punch. Now take time
with a training partner to experiment with elbow
manipulation. Throw a punch at your partner, having him slip
to the outside of the strike, and contact the elbow area of the
extended punch. As you retract slowly, have your partner
control the elbow and direct it back into your center, shifting
your weight back onto your heels.

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Then perform the same exercise, this time after slipping to the
outside of the punch, have your partner contact the elbow,
guiding it slightly outward and downward, shifting your
weight and balance to the balls of the feet. Make sure your
partner is using their hips to guide the motion of your arm/
elbow.

Take your time and experiment with manipulating the elbow

to all angles of the octagon. Feel how directing the elbow to
different angles shifts body weight and balance to different
areas of the feet.

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Please note that these manipulations must be done on a
moving, weightless partner. Not on a structured, stationary
partner.

Having an awareness of elbow manipulation, and how it

effects freezing and creasing of the knees, is a very important
tool for your throwing, striking, and locking arts as well.
Execute your various throws and locks, paying special
attention to how directing the elbow in different directions
creates different effects on your opponent’s body. Notice
how, when applying an outward wristlock or kotegaeshi,
driving the elbow downward towards the center pole of the
octagon, drops and brings the head in close for application of
the striking arts. Experiment and observe!

Experiment with a training partner, having him attack with

various grabs. Work on creasing the elbow and directing it to
various angles of the octagon. Notice the different effects this
has on your partner’s balance and structure. Look at the
variations for different throwing techniques that become
available to you. Take your time...and observe.

Loading/Preparatory Motion

The preparatory action or motion needed to initiate movement

from one stance or posture to the next is called loading. After
settling into a structured, stance or posture, there must be a
coiling motion to repel the body from this settled position.
We as human beings are constantly fighting to overcome
gravity. Every time we move from one posture to another, we
have to overcome gravity to initiate our next motion. The
concept of Loading or Preparatory Motion is about
recognizing this factor, and looking deeply into this matter to

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observe how we may manipulate our structure, to allow for
quicker, more direct movement.

How do we study this? The first thing we must do is slow

down. Our body knows how to adjust for easier, more
efficient motion. We need to pay attention to how the body
adjusts and coils, to create new motion. Stand with your left
foot forward, in a natural posture. Slowly, shift your body
weight to take a step. Notice how certain muscle groups
energize, or tense up, to initiate this motion. If the practitioner
were to energize these muscle groups ahead of time, would
they not be able to move in a more direct and efficient
manner?

Pay attention to how the feet adjust when we decide to change

the direction in which we move. Understand, that by adjusting
our feet in order to turn to a specific direction, we also adjust
our hip to help direct our body.

Observe how people walk. Notice how when moving forward,

our bodies also move in a lateral (side-to-side) motion,
shifting weight to one leg, in order to take a step forward with
the other leg. This lateral motion takes time and energy, while
also exciting the periphery of the opponent. In order to
eliminate this lateral motion, the practitioner must adjust the
heel of the foot under his body so that it is closer to his
centerline.

In the next sequence of photos, the practitioner starts in a

back stance (Figure 86), but adjusts the front heel inward
towards his centerline, as a preparatory motion (Figure 87).
This motion generally would be undetected by the opponent,
being below his visual plane. With this reposition of the foot,

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not only is there less lateral motion on the transition, but also
the left hip has been opened up for a smooth transition
forward. This preparatory motion allows for a direct,
uninhibited movement forward into striking range of the
opponent. (Figure 88)

How can we experiment and practice this? Well, we can

observe everyday motion.

Notice how the body adjusts to changes in direction. The

practice of kata, is a perfect vehicle for understanding the use
of preparatory motion, for quicker, more direct motion. In
order to see or feel this, one must slow down. Realize the
most important part of kata, is not the ending of each motion,
but the initial part or transition of each motion. Observe,
practice, and most of all, feel.

Figure 86

195
Figure 87

Figure 88

In this chapter, I hope to have given the reader examples and

insights into concepts and principles that will enhance
whatever martial art you may practice. It is my hope that this

196
text will induce thought, and open doors to a deeper
understanding of the martial arts and ourselves.

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CHAPTER 7

Escaping

Escaping Arts

According to Mitose Sensei, “True self defense involves no

body contact.” Therefore the escaping arts are to be
considered the highest level of the art. There are several
reasons why this is so.

First of all, the concept of doing no harm to another

individual, and allowing no harm to be done to yourself is the
safest and most efficient form of self protection. With the use
of the octagon and proper visual skills, the practitioner can
detect motion and remove themselves from harm’s way. The
practitioner must study and understand the concepts of hyoshi
(timing) and maai (distancing). The use of proper visual skills
such as peripheral and tunnel vision must be understood and
applied to everything we do.

Secondly, the use of proper escaping skills allows the

practitioner to reposition his/her self to an area where the
attacker must readjust his body to continue or follow through
with the attack. This adjustment will take time, and will
require the attacker to reposition and rotate this body to
continue the attack. During this rotation, the attacker must
readjust and cross his current centerline, therefore putting
himself in a weightless state during the transition.

For instance, in Figure 89 the defender leans slightly to his

right (angle #4) to give his attacker a false center to attack.

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The attacker then throws a right punch, and the defender slips
out to his left (angle #3), and aligns triangles to the attacker’s
center. Note how the attacker must readjust his entire body
and cross his centerline. (Figure 90)

As the attacker rotates to cross his centerline, he becomes

weightless (Figure 91). At this point the attacker is vulnerable
to body manipulations which disrupt balance and stability
allowing the practitioner the ability to apply a nagae or
throwing technique (Figure 92).

Also during this transition, as the attacker becomes

weightless, his ability to absorb or withstand an atemi or
striking technique, is considerably reduced (Figure 93).

With the use of the octagon, and proper distancing and

timing, good escaping skills will allow the practitioner to
disappear from the attacker’s visual plane. This not only has a
physical effect on your opponent, but also affects them
mentally. This creates a state of confusion to place your
opponent off balance mentally, as well as physically.

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Figure 89

Figure 90

200
Figure 91

Figure 92

201
Figure 93

As discussed in other chapters, we have two basic options or

attitudes when it comes to our escaping arts. The practitioner
can either take on the attitude of total escape, or he may
choose to escape and engage. Both attitudes are extremely
useful, depending on the situation. Note the following pages
illustrating these two approaches.

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203
204
Attitude of Total Escape

When we look at the mind-set of total escape, Mitose Sensei’s

words must come to mind, “The inner-most and true spirit of
Kempo lies in humility and self-restraint.” When we look at
the mind-set of total escape, we have nothing to prove, and
nothing to gain by doing harm to another individual. This
type of self-defense, exemplifies humility and self-restraint.

When dealing with a total escape mind-set, the idea is to

confuse and place the attacker off balance. This confusion
results from the fact that you are never where your attacker
thinks you’ll be. The attacker’s anger is what drives him to
throw the first attack. The emotion of anger is easily turned
into frustration when the attacker’s needs are not met.

The mind-set of total escape is not hindered by attachment.

Like the characteristics of water, it doesn’t care how it gets to
its destination...it just gets there. In total escape mode, the
practitioner is peripheral to his environment. In the visual
sense, the practitioner sees everything in his environment, but
does not acknowledge any of it as important or credible. The
defender merely moves when the time is right, avoiding any
conflict that may arise. Mentally and emotionally, the
practitioner is detached somewhat, so as not to be unbalanced
by anything that happens. The mind is “not stuck,” but free to
move itself and the body as needed.

The Attitude of Escape & Engagement

Looking at the attitude of escape and engagement, we see that

the initial escaping portion is much the same as that of total

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escape. The practitioner remains peripheral, seeing
everything, but attached to nothing.

Escaping allows the defender to reposition himself to gain

superior position on his opponent, so as to neutralize the
threat. When the defending practitioner then decides to
engage, he or she becomes focused on taking on the
opponent. This focus may be to control the opponent through
the use of a controlling type maneuver, such as a throw or
joint manipulation. At this point of engagement, the
practitioner can also utilize the destructive arts, such as
striking, to terminate the confrontation.

As the practitioner focuses on engagement and finishing the

confrontation, he or she does so with a peripheral attitude
toward whatever technique is being applied. This allows the
practitioner the ability to adjust, or change the technique, if he
or she encounters problems.

The study of the escaping arts is vast, and extremely

important. Proper escaping lays down the groundwork for
proficiency in your throwing, locking, and striking arts. This
is possible through escaping the opponent’s mass, and gaining
superior positioning.

Experiment with the angles of the octagon, with various

modes of vision, and distances. Be aware of the amount of
space you need to function, and operate with maximum
efficiency. Then translate this understanding to how your
opponent moves, and the space needed for him to start and
continue an effective attack. Learn to use the angles to
sacrifice space when needed, and use these same angles to

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intercept and rob your attacker of the space he needs to
operate.

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CHAPTER 8

Blocking

Kosho Ryu Blocking Uke Waza

There are so many different ways to perceive the art of

blocking. We can think of blocking as merely derailing a
strike away from its intended target. Or it could be perceived
as striking an attacker’s limb as it approaches you, destroying
the arm, creating imbalance in their body. When we look at
the term “uke,” or to receive, we can see blocking as a way to
safely receive someone’s attack. When receiving, we must
receive and create imbalance! Every opponent has a process
of movement they must go through, repelling from their
stationary posture to initiate the attack, through the weightless
state of initial projection and extension of the strike, to the
settling back into a form of stance. Therefore our blocking
must have an off balancing effect on our opponent that makes
this process difficult for them to execute quickly and
efficiently. If that process is difficult, our job to manipulate
them physically and mentally becomes easier, therefore
allowing us to neutralize our opponent. There are many ways
to look at blocking and more importantly, the attitude you put
into a block. We will explore them in this chapter, hoping to
enhance your insights into your blocking.

Always remember: Off Balance ? Manipulate ? Take

Advantage!

Let’s look at the different attitudes we should be aware of

when executing blocking techniques. In the beginning of our

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training, we are concentrating on performing the block
correctly and keeping ourselves from being struck. As we feel
more confident and natural with our blocking techniques, we
can start to apply the use of angles to make our blocking more
effective. An extremely important element in our blocking
has to be proper escaping! Repositioning ourselves to an
angle where we do not take on the mass of the attacker and
allows for ease in execution of the block. This also allows us
to see many different applications for their use, as well as
placing us in a superior position when dealing with a
secondary strike. This is where the octagon becomes so
incredibly important. The Octagon acts as a roadmap for
proper positioning when dealing with an attacker.

When we attempt to block while staying in our opponent’s

line of attack, we will be forced to take on their body mass;
also, if we move backward to receive their attack, we allow
the opponent to continue their momentum towards us. The
opponent has no need to readjust their center, to change the
direction of the attack.

Notice that by moving backward to receive the strike, the

attacker easily readjusts to throw a follow-up strike. The
attacker never loses visual contact with the defender, and is
not forced to readjust his center to throw a follow-up strike.

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We know that two objects cannot occupy the same space at
the same time. When an attacker strikes, he wants to occupy
the space that we take up. The practitioner merely needs to
give up that space, and occupy new space. The octagon angles
allow us to move to an unoccupied space, giving us superior
positioning over our opponent. That positioning may be to
escape harm totally, or to use a controlling type technique, or
to engage and finish the opponent.

In the above sequence of photos, the attacker throws a right

punch, the defender slips out to angle #3 and blocks with a
middle block (note the angle of attacker’s center), as attacker
rotates center, the defender throws a left punch to the face, as
attacker is in transition. The key to this application is to angle
out and escape, execute the middle block and align the
triangle towards attacker’s center. This alignment allows the
defender to respond immediately, while the attacker must
readjust and rotate to continue his attack.

When we execute a block, we need to have in mind, whether

we choose to block and escape, or block and engage the
attacker. This mindset determines how we align our center.
This is dependent on what we choose to accept. The
practitioner can choose to use the block to redirect the attack,
and align him or herself to an angle for immediate escape; or

210
redirect the attack and align center towards the attacker for
engagement.

On the other hand, if the defender chooses to accept the

attacker, and wishes to engage, he must escape to the angle
and execute a block while aligning his center towards the
attacker. This puts the defender in a position to immediately
engage and strike the attacker. Practice executing your
different basic blocks as you escape to the different angles of
the octagon. Work an escape to each angle, and experiment
with the mindset of blocking the incoming attack, and align
center for total escape. Then, repeat the exercise with the
mindset of immediately engaging the attacker, by aligning
your center towards them.

Figure 94

211
Figure 95

Figure 96

In the above photos, the attacker throws a right punch. The

defender slips out to angle #3 (Figure 94) and executes a right
middle block (Figure 95), with his center aligned towards
angle #5. From this position, the defender’s best option is
total escape to angle #5 (Figure 96)

Notice how, when using the mindset of blocking and aligning

center to engage, the options for throwing, striking, and
locking become more available. Proper triangulation gives the

212
practitioner full use of all his/her weapons, for use in
eliminating structural balance of the opponent to accomplish a
throwing (nagae) technique, or for the destruction of the
opponent through the use of striking (atemi) techniques.

Keep in mind that use of your angles of escape, must be

accompanied by the use of proper timing (hyoshi), and
distancing (maai). The use of peripheral vision allows the
practitioner to move on time, allowing for appropriate hyoshi.
These points are discussed in more detail in the chapter on
concepts.

On pages 117 and 118 you can find examples of blocking for
use of escaping, and blocking to engage an opponent.

Look at the following sequences for examples of using the

octagon for escaping and engaging the opponent, to execute
throwing, striking, and locking techniques.

213
Figure 97

Figure 98

214
Figure 99

In Figure 97, the attacker throws a right punch, and the

defender slips out to angle #3 and executes a kake uke or
parry block. Note how the defender blocks and aligns center.
In Figure 98, the attacker rotates to throw the left punch, and
the defender slips inside the punch. As he escapes, he guides
the left arm downward to create a fold, and strikes to the head
with the left arm, to create an arch of the attacker’s spine.
With the attacker folded and arched, he steps behind and
rotates (while keeping the attacker arched), thus creating a
void for the attacker to fall into. (Figure 99) Note, if the
defender’s center was not aligned, he would not have enough
time to adjust and execute the throw.

The next sequence of photos demonstrates the use of escape

and alignment, for the use of implementing the striking arts.
In Figure 100, the defender slips to angle #3, outside the right
punch. He executes a parry block and aligns his triangles. As
the attacker throws the left punch, the defender strikes with a
punch to the projecting shoulder. This strike stops the
incoming strike and freezes the attacker’s structure. (Figure

215
101) The defender then immediately moves in to finish with a
striking combination to the head. (Figure 102)

Figure 100

Figure 101

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Figure 102

Blocking and aligning in this manner, allows the practitioner

superior positioning (gamae). This posture and positioning,
allows for quick direct striking, or for the use of manipulating
the balance and structure of the rotating opponent.

The Attitude of Your Block

When performing anything in life, often the attitude you put

into what you’re performing makes all the difference!
Different attitudes create different effects. Whether we’re
talking about life, or about the performance of your blocking
technique, it’s all the same. Your uke no waza or blocking
technique, can take on several different attitudes. We can use
the categories of hard and soft, or an attitude of striking, or
yielding/manipulating.

If you were going to execute your block with a striking

attitude, you would be taking on more of an offensive
approach to blocking. The strike of your blocking motion may

217
be to destroy a limb, or to attack a pressure point, rendering it
temporarily useless.

The striking manner of your block may be used to strike the

body or arm, to manipulate the spinal structure. Study the
following photos for examples of these techniques.

In Figure 103, the attacker throws a right punch, and the

defender slips out to angle #3. The defender uses the left
cover hand of the block, to guide the punch out beyond his
body, and then strikes the arm with the right block. (Figure
104) Refer to the chapter on Pressure Points for location of
arm points to be struck.

In another example of the chudan uke, or middle block, the

defender’s wrist/ forearm has been grabbed. (Figure 105) The
defender slides back to angle #2, to force the attacker’s elbow
joint to full extension, then the defender locks the joint by
executing a chudan uke. (Figure 106)

218
Figure 103

Figure 104

219
Figure 105

Figure 106

220
In the above photos, the attacker steps in to throw a right
punch. The defender moves in on the attacker’s initial motion,
contacting the attacker’s arm at the center pole of the octagon,
executing a jodan or high level block. This motion contacts
the arm as the opponent’s weight is rising and moving
forward, which allows for ease in manipulating the
opponent’s spinal structure in a backward manner.

In the next series of photos, the attacker throws a punch, and

the defender steps to the inside of the strike. The defender
parries the blow with the right hand, and strikes the attacker’s
face with the rising portion of the block. Note that the
escaping motion needed to slip the strike is of extreme
importance.

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The Essence of the Block

If we look at the essence of what we want our blocking

technique to be about, we have to look at the various attitudes
or approaches our blocks may take on.

Blocking that is yielding, and off-balancing

Blocking that is intercepting and redirecting,

off-balancing

Blocking that is aggressive and striking in nature,

off-balancing

Note the above approaches to blocking. All three of these

approaches have a different essence, or attitude to the block.
But all three are used to ultimately create imbalance.

Blocking just to stop a strike, if it does not create an

off-balancing effect, is inefficient and wasteful. Our blocking
maneuvers should not only safely keep us from being struck,
but also have an unbalancing effect on our attacker. Once

222
off-balanced, an attacker is easily manipulated for defeat!
Therefore a block that takes away structure of an attacker,
allows us the options of continuing with an effective throw,
lock, or strike.

The Center Pole of the Octagon

If we look at blocking to or at the center pole of the octagon,

our blocking takes on more of an intercepting motion. As
discussed in other chapters, the area of the center pole is the
neutral area that an opponent needs to occupy, in order to
make contact with us. If we intercept our opponent’s motion

223
at this center pole area, our block will disrupt and manipulate
the structure of our opponent. Understand that an attacker
must repel from a stationary or settled position, in which the
body weight must rise to move forward, and then settle into a
stance to propel a strike. This rising motion creates a
momentary weightless effect on them. A practitioner can use
the octagon’s center pole area in several ways.

The defender may move on the attacker’s initial motion,

taking up the center pole area with his body while projecting
the block. Using proper hyoshi or timing, this option allows
the defender to apply the blocking motion to an attacker
whose weight is just starting to rise, intercepting their motion
and disrupting balance and structure.

The second option for use of the center pole when blocking,
would be to intercept the intended strike or grab at the center
pole, making contact with the attacker’s strike at
approximately 1/2 extension of the projected strike. This
intercepting motion jams and redirects the intended strike to
an angle of safety, and causes an imbalance on the attacker by
creating a fold of the body.

Explore the use of the center pole of the octagon, when

applying your blocking techniques. Use it as a tool to
intercept your attacker’s motion. Vary the use of your targets
areas on an opponent, as well as the timing of your blocks,
when using the concept of the center pole of the octagon.

Blocks as Locks

As mentioned earlier, the use of your blocking motion can be

used for striking an attacker. Also understand that these

224
blocks can also be used to lock the joints of an attacker.
Experiment and study how the motion of a block can
manipulate and lock joints of an attacker. These blocks/ locks
can be used to totally destroy an attacker’s joint to neutralize
the situation, or used to destroy structure and balance for the
use of finishing through throwing or striking techniques.
Study the following examples on how to apply your blocking,
for the use of kansetsu waza or locking techniques.

Figure 107

Figure 108

225
Figure 109

In the above sequence, the attacker throws a punch, and the

defender slips out to angle #3 and parry blocks and grabs the
wrist of the punching arm. (Figures 107 & 108) The defender
retracts the right arm to hyper-extend the attacker’s elbow,
and uses a left inside forearm block to lock the elbow joint.
(Figure 109)

In the next sequence, the attacker grabs the same side forearm
of the defender. (Figure 110) The defender steps back with
the left foot to off-balance hyper-extend the elbow, and brings
the right arm up over the top of controlled arm. (Figure 111)
The defender strikes with a downward block as the left arm
retracts to lock the attacker’s elbow. (Figure 112)

Note that the retracting hand/arm is essential to the locking

process. This arm retracting quickly easily straightens and
extends the elbow for the lock to be applied.

226
Figure 110

Figure 111

Figure 112

227
Figure 113

Figure 114

Figure 115

228
In the next sequence, the attacker grabs the left arm with his
right hand. (Figure 113) The defender shifts back into a neko
ashi dachi, or cat stance. This shifting of the weight
backwards draws the elbow into the extended position.
(Figure 114) The defender then executes an outside middle
block to lock the elbow. (Figure 115)

Study the movement and motion of your various blocking

techniques. Be aware not only of the projected motion, but
just as important, the retracting motion. Experiment with the
use of your various blocks, using proper escaping and
alignment. Study how the motion of your blocks can translate
in strikes, locks, and throws.

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230
231
CHAPTER 9

Joint Locking

Kansetsu Waza (Joint Locking)

The locks and joint manipulation of Kosho Ryu Kempo, are

similar to that of other arts. These locks/manipulations fall
into the category of the controlling arts. These waza or
techniques are meant for the use in controlling an opponent’s
aggression through the use of pain to gain compliance, and
the off-balancing effects of locking of the skeletal structure.
Remember balance and imbalance! Remember that kansetsu
waza is about manipulating the skeletal structure to create
imbalance within our opponent, while we maintain our own
balance. Take the time to experiment with various skeletal
manipulations, and the various off-balancing effects they
produce on an opponent. Be aware of the opponent’s balance
points and their foundation. Notice the various creases they
create...and how to manipulate those creases. Let’s look at
some basic locks, and study the effects they create.

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Outward Wrist Lock - Kotegaeshi

Figure 116

233
Figure 117

Figure 118

In Figure 116, the defender controls the attacker’s hand. In

Figure 117 the defender jams the elbow in a downward
motion, locking the wrist. Notice the creases in the knees and
at the waist. The defender then rotates around his center,
turning the locked hand in an outward manner (Figure 118).
Note the folding and creasing effects on the body. Notice how
the attacker’s head is out beyond the structure of his feet.

234
With continued rotation by the defender, and the removal of a
balance point (the defender’s left leg), the attacker falls into
the void. An important mind-set of the Kosho Ryu
practitioner, when it comes to technical application, is a
peripheral attitude—that is we are not locked in to a single
threaded focus. Sometimes we don’t get the intended result
when we apply a joint lock. But we usually see some sort of
effect from it. The practitioner, who maintains a peripheral
mind-set, will take the effect created by the lock and use it to
defeat an opponent.

Figure 119

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Figure 120

Figure 121

For instance, let’s take the joint lock we just covered. As the
defender applies the outward wristlock (Figure 119), the
attacker steps out with his right foot to catch his balance
(Figure 120). Instead of trying to force the lock, the defender
immediately takes the fold that was created, and manipulates
the opponent’s head to arch him toward his back triangulation
point, applying a throwing technique (Figure 121).

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Figure 122

Figure 123

In another example of this mind-set, the defender applies the

outward wristlock. As the defender locks the joint and creases
the elbow downward, the opponent’s knees buckle and the
upper torso is slightly folded (Figure 122). The defender feels
some resistance, and immediately flows into a striking
combination (Figure 123).

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Take all your basic joint locks and experiment with the effects
they create. Observe what effects take place on your training
partner’s body. Notice your options for attacking the body in
these weakened states, through the use of your striking,
throwing, kicking, or other joint manipulations.

Realize that if the attacker restructures his base during the

application of the lock, you will feel resistance in the opposite
direction of your application.

By using the concept of “Move Twice,” you merely need to

change the direction of force with the locked hand, and then
immediately reverse the lock back in the intended direction.
Realize that the body can only resist in one direction at a
time. Therefore in this instance you move with the attacker’s
resistance, and immediately reverse it. Be extremely careful
when executing this application, since this can seriously
injure your training partner’s joint.

In the next example, the attacker has grabbed the defender in

a double choke position (Figure 124). The defender grabs the
attacker’s right hand and checks his elbow with his left hand.
Since the attacker is in a balanced, structured posture, the
defender kicks the shin of the attacker to mentally off-balance
him (Figure 125). The defender twists out of the choke,
locking the wrist and elbow, causing the attacker to be folded
at the waist (Figure 126). As the defender applies the locks,
he feels the resistance of the attacker pushing upward (Figure
127). Feeling the resistance, the defender allows the attacker
to rise, meeting his motion with an upward elbow strike to
arch the body backward, into a throw. (Figure 128)

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Figure 124

Figure 125

239
Figure 126

Figure 127

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Figure 128

Remember that when attempting to apply a lock on a person

who is in a balanced, structured position, the defender must
divert the attacker’s mental and physical focus to initiate the
locking motion.

Another very important ingredient in successful joint locking

is the ability to align your triangles with the joint you are
manipulating. This, along with keeping the elbows in close to
your body, allows for a connected, stable, and powerful
application. Refer to the Concepts of Study chapter for more
on triangulation.

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Countering Joint Locks

As has been mentioned before in other chapters, the body

needs a certain amount of space to operate. Apply a joint lock
on a partner, and observe how much space is needed to be
effective. When countering another person’s joint lock, we
need to understand how to manipulate that space, in order to
make the lock ineffective. An effective way of doing this
would be to move your center in towards the lock. This
reinforces the defender’s strength and stability, while
jamming the attacker, by taking up their operational space.
Refer to the chapter on the octagon, and manipulation of the
center pole. View the following photos for an example of this.

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Another important factor to remember when countering joint
locks is the manipulation of the attacker’s elbows. Controlling
the motion of the attacker’s elbows inhibits their free range of
motion, making their application difficult.

Experiment with a training partner on this. Have your partner

slowly apply a lock. Observe how the elbows move. Then
work on freezing one of your partner’s elbows, inhibiting its
ability to move properly. Observe how this creates difficulty
for your partner’s application. Then repeat this process, this
time by manipulating the intended path of motion the elbow
takes. Note how manipulating this path, causes
over-movement by your partner. Notice any folds or creases
this may create, and how you may take advantage of them, to
disable your partner from further action.

Kata Bunkai for Joint Locking

Most martial art systems practice kata as part of their training

programs. But many times, the application is not taught
except for the obvious blocks, punches, and kicks. The word
bunkai, can be translated into the exploration encouraging a
deeper look into your studies.

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Remember that the performance of a block in your kata
should be able to be translated into a strike, a throw, or a joint
lock. Look at any blocking motion in your kata. Observe the
retracting arm and side of the body. Notice how this retracting
arm, could be used to hyperextend the projecting arm of your
opponent into a joint lock.

In the first sequence of photos, the defender’s right forearm is

grabbed by the attacker’s right hand. The defender rolls the
grabbed hand around and onto the attacker’s forearm to grab
it. The defender shifts back to angle #2, drawing the attacker
off-balance, and extending the arm so the elbow is straight.
The defender then contacts the elbow joint with a forearm
block to lock the elbow. Once the lock is applied, the
defender takes the attacker to the ground.

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In much the same manner, the next sequence of photos shows
the attacker grabbing the same side arm. The defender again
rolls the hand around, to grab and secure the attacker’s arm.
Then shifting back to hyper-extend the elbow joint. The
defender then executes an outward middle block to lock the
elbow joint.

In the final sequence of photos, the defender applies locks to

the attacker using the motion of a low block.

The art of joint manipulation is vast. There is so much to

study and observe. I hope the material in this chapter opens
the doors to new ideas of study and application for the reader.
Practice your locks, observe the effects, and understand how
to manipulate the balance and structure of your opponent.

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CHAPTER 10

Throwing

Nagae - Throwing Arts

When I first saw the throwing arts of Kosho Ryu, I was

amazed at how effortless it seemed for Hanshi Bruce Juchnik
to accomplish each technique. My martial arts background at
that point had included little or no throwing experience. I
remember there were no gaps or pauses in his defenses and he
could accomplish a throw from just about any position in
relation to his opponent. Most of the throwing I had seen prior
to that had seemed to require a great deal of strength,
leverage, and a very specific body type.

When I decided to study Kosho, I thought that this would be a

very difficult area for me to excel in, due to my lack of
experience. When I began to study with Hanshi, I expected to
be taught a variety of different techniques to enhance my
throwing abilities. Instead, I was exposed to studying balance
and how to manipulate it. I was confused and a bit impatient.
Hanshi would say “If you want to learn to throw, throw
yourself.” This type of learning was very different for me. I
was used to being taught a specific technique to be done in a
specific manner. Yet as time passed, I realized what I was
experiencing was far more important than learning a series of
prearranged throwing techniques. I was learning the
principles and concepts that make all throws work. Let’s look
at some of the important components that contribute to the
effectiveness of the throwing arts.

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Escaping was considered the highest art by Professor James
Mitose, the 21st generation Headmaster of Kosho Ryu
Kempo. Proper positioning is extremely important in any type
of confrontation, whether it be physical or verbal. One of the
most important aspects of throwing is the ability to escape
and reposition yourself to make your attacker reposition
himself and cross his center. It is this repositioning movement
that weakens your attacker and makes him vulnerable to your
manipulation.

Let’s discuss some of the key points to manipulating balance

and creating throwing techniques.

1) The 4 directional folds

The 4 directional folds of the body take place at the center or

waist crease. The body can be folded towards angle #1
(forward), to angle #2 (backward), to angle #3 (left side), and
to angle #4 (right side) (Figures 128-31). The key to balance
is keeping your spine structured so that your weight is directly
over your feet.

So, to destroy balance we want to manipulate the skeletal

structure so the head is out beyond the support of the feet.
The four directional folding drill is used to experiment with
this concept.

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Angle 1

Angle 2

248
Angle 3

Angle 4

2) Creasing of the body

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Proper knowledge of how to use the natural creases of the
body in conjunction with the four major folds is extremely
important. This knowledge allows you to create an unlimited
number of throws from any type of situation.

Manipulating the creases of the body, such as the elbow in a

grab situation, gives the defender easy access along with the
ability to affect the spine into the four directional folds. Take
the time to work with a training partner and experiment with
all the creases to see how easy it is to create imbalance in the
body. Look for creases at the wrists, elbows, shoulders, neck,
waist, hips, knees, and ankles.

Also, experiment to see how these creases can be used in

conjunction with each other. This allows for multiple options
in the event a technique creates an effect, but doesn’t give you
the anticipated result. Study the following photos on creasing
and notice how they contribute to the destruction of the
opponent’s balance and allow for multiple options for
throwing techniques.

Wrist crease

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Using the effect of the wrist crease to arch spine and apply
throw

Elbow crease

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Arch spine & apply throw

In the below sequence, the defender attacks the elbow crease

and the knee crease to break down the structure of the
attacker, then arches his back/spine to create the throw.

In the next sequence, we attack the elbow crease first, then

immediately attack the waist crease bringing the head in,
arching the spine.

Crease elbow

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Crease knee with kick

Arch spine & throw

When you are working on manipulating the elbow crease in

grabbing situations, experiment with creasing it from the
inside of the grabbing arm as well as from the outside. Look
for different effects this has on the structure of the spine and
what different options you have for throws. Then, work on
creasing the elbow from the inside and outside, but this time
manipulate towards different angles of the octagon. Look at

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the effects and the options for your throwing techniques.
Study the following photos for different examples of creasing
the elbow to different angles.

Crease elbow

Crease waist

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Arch spine and rotate

When creasing the elbow, you must be aware of the

opponent’s foundation for support. Notice when creasing the
elbow downward, the opponent will try to restructure their
support by shifting one of their feet to a position under the
point where the elbow is being directed. This is done
naturally to save their balance.

By being aware of this, creasing downward and to a side

angle, you eliminate your opponent’s ability to restructure his
foundation. This relates to the concept of your opponent’s
triangulation, which will be covered later in this chapter.

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3) Creating the void

When we think of a void, we think of some kind of space into

which objects fall, filling the void. Knowledge of how to
create and use the void when it comes to throwing can make
the difference between having to force a throw or being able
to accomplish the technique with minimal effort and economy
of motion.

Figure 132

Figure 133

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Figure 134

As we’ve said before, one loses balance when the spinal

structure is manipulated so the weight is out beyond the
foundation of the feet. At this point, creating a rotation on that
structure makes it difficult for the opponent to recover
balance. Also, realize that when off balancing an opponent in
a throwing technique, your legs become a point of balance for
your opponent. Removing a leg that is contributing to the
balance of your opponent by rotating it behind your body,
takes this balance point away to create a void for him to fall
into. It is very important to make your opponent dependent on
this balance point by folding his body in that direction
(bringing his head out beyond his feet) so when you remove
the leg he will fall into the void. Study Figures 132-134.

4) Where is your opponent’s triangulation balance point?

Triangulation is a concept that has applications in all aspects

of martial study, from blocking and striking, to throwing and
the manipulation of balance. It is a concept that ties directly to
creating the void, which we just covered. An opponent’s

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triangulation balance point can be found by merely drawing a
line from the opponent’s left foot to their right foot. Then find
the triangle point about three feet directly in front of them and
directly behind them. These are the two directions in which
opponent will be weakest in maintaining his balance.

Figure 135

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Figure 136

This can be compared to the third leg of a stool. If the third

leg were to break, the weight would shift to that direction and
loss of balance would cause the stool to fall in that direction.
When you are engaged with an opponent and are
manipulating his structure and balance, you become his
triangulation balance point (Figure 136).

So, as we discussed in the concept of creating the void, you

must be able to remove this balance point to create a void for
the opponent to fall into.

5) The arm is merely a lever to affect the spine

This concept is essential in understanding how to use the

extending striking or grabbing arm to create imbalance in the
opponent’s spinal structure. When we redirect the extending
arm, we create slight imbalance in the spinal structure. This

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sounds like an easy concept to grasp and use, but take your
time and experiment with this.

Direct to Angle 4

Direct to Angle 6

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Direct to Angle 1

Direct to Angle 5

When an opponent is attacking you, he would most likely be

projecting an arm towards you in order to strike or grab you.
Since the arm is moving towards you, it is closer and easier to
manipulate than the torso of the body. Work with a training
partner and have him project single punches and grabs at a
slow to medium speed. Your objective is to manipulate the

261
path of the strike or grab and observe the effect it has on the
spinal structure. Place a mental octagon on your opponent and
manipulate the path of the extending limb to the different
angles and observe the different folds/creases and options that
are available for throwing.

Once you’ve manipulated the intended path of the strike or

grab and placed your opponent in a vulnerable position,
continue to destroy your opponent’s structure by attacking
creases such as the neck, waist, and knees to throw your
opponent.

Next, take the same exercise and have your training partner
perform different grabs on you. Let the grab take place and
manipulate the grabbing limb (elbow crease) to the different
angles of the octagon, again observing the effects on your
partner. Remember several key considerations when working
this drill. First, start moving/manipulating the grabbing arm
just as the grab takes place. Do not allow your partner to
realign his body to control the motion of your arm. When an
opponent extends his arm to grab, he will have to reach for
you, creating a slight fold and imbalance in his body. This off
balancing motion will momentarily prevent your opponent
from controlling the grab. But, he will automatically
compensate by restructuring his body so he’ll be able to
strengthen the grab. It is just before this restructuring takes
place that we must manipulate the opponent’s grabbing arm
to different angles of the octagon.

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Manipulate neck crease

Manipulate waist crease

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Manipulate knee crease

When manipulating the grab, make sure to maintain your own

triangulation. For instance, let’s say your opponent has
grabbed your wrist. Your triangle would be from hip-to-hip to
the center point of the triangle, where your grabbed wrist
should be. This would be the position where you would be
centered and strongest in terms of being able to move the
opponent’s arm to create imbalance. If you allow your arm to
leave this triangle, you will only have the strength of your
arm as opposed to the strength of your entire body. Now as
we direct the opponent’s grabbing arm to different angles of
the octagon, start to reposition your feet to take away the
support or balance point of the opponent. After directing the
opponent’s grabbing arm to an angle and manipulating their
structure, immediately attack creases such as the neck, waist,
and knees to completely destroy the structure of the opponent
for a throw. Note the following photos for examples.

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Figure 137

Figure 138

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Figure 139

Figure #137 shows the defender creasing his attacker’s elbow

down and inward to angle #6, then immediately creasing knee
with a kick (Figure 138), and following up with a right strike
to arch the head backward (Figure 139) and continue to
throw.

6) Move Twice

Every action you take against an opponent has an equal and

opposite reaction. The concept of Move Twice is so vast and
applies to so many aspects of self-defense. For now, we will
look at how we can use this for throwing purposes. Let’s look
at what happens when we direct or manipulate an opponent’s
balance. The opponent will naturally resist and try to readjust
in an opposite direction in an attempt to regain structure and
balance. When this action takes place, you must redirect your
force in order to use the opponent’s strength against him.

For example, if you and your opponent are pulling in two

different directions, trying to pull each other off balance, and

266
you suddenly change the direction of your force and begin to
push instead of pulling, your opponent will fall backwards.
You will be using your opponent’s force against him. This
concept is a very powerful tool to have in your arsenal.

Your opponent can only resist in one direction at a time.

Think of how many times you’ve been working a throwing
technique only to have the opponent catch their balance half
way through and resist in the opposite direction of your
technique. Generally, the first reaction is to resist your
opponent’s strength and try to force the technique towards the
intended direction of your throw. This is where the concept of
tunnel and peripheral attitude relate to the execution of
throwing techniques. If you maintain a peripheral attitude,
you allow yourself the flexibility to feel the opponent’s
resistance and redirect your force to another angle where his
balance is weak while using his resistance to help accomplish
a throw.

Two concepts that illustrate the use of peripheral attitude

when throwing are the concepts of Cutting the Circle and
Continuing the Circle. Let’s say we are attempting to execute
a throwing technique on an attacker who is throwing a right
punch. The defender escapes to angle # 4, inside the punch,
and contacts the arm, manipulating it downward (Figure 140).

267
Figure 140

Figure 141

The defender then contacts or strikes the head to create an

off-balancing effect or arching of the spine. The direction of
this manipulation is outward beyond the foundation of the
feet (Figure 141).

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This outward manipulation pushes the attacker’s triangle
balance point to the defender’s left leg. As the defender
moves the leg to create a void for the attacker to fall into, he
may feel the loss of balance and reposition his front foot out
further in an attempt to catch his balance. In doing so, the
attacker will shift much of his weight forward to that balance
catch point and resist from this point backward (Figure 142).

Figure 142

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Figure 143

When feeling the resistance to this outward circular direction

of the technique, the defender Cuts the Circle, manipulating
the spine towards the back triangulation point to complete the
throw (Figure 143).

This is just one example of Cutting the Circle. As you

continue to experiment with the manipulation of an
opponent’s balance and structure, you will discover other
applications for this concept.

270
Figure 144

Figure 145

271
Figure 146

Figure 147

Another concept that is useful in this aspect of the throwing

arts, is Continuing the Circle. Assume we take the same
situation of the attacker throwing a right punch, defender
slipping to angle #4, and manipulating the arm and spine of

272
attacker. As before, the defender then strikes/contacts the side
of the head to arch the spine and manipulate the head out
beyond the foundation of the feet, breaking the structure and
balance of the attacker (Figure 145).

As in the prior example of Cutting the Circle, when the

defender rotates to throw the off-balanced attacker, he
repositions his right leg to catch his balance, making the
throw to that angle improbable (Figure 146).

Feeling the resistance caused by the repositioning of the leg,

the defender continues to rotate another 90 degrees while
keeping the spinal structure arched, therefore creating another
void for the attacker to fall into. (Figure 147)

The concepts of Cutting the Circle and Continuing the Circle

are examples of maintaining a peripheral attitude while
executing a self-defense technique. This state of mind is
essential to being able to flow and adjust to changing
circumstances and adjustments of an opponent.

Maintaining a peripheral attitude while executing a throwing

technique allows the student to sense and feel the opponent’s
intention. Working with this concept also forces the student to
look one step ahead when applying a technique, in order to
see which way the opponent will resist in order to try to save
his balance.

Everyday, we fight imbalance in the things we do without

thinking about it. When you feel off-balance, your body
naturally adjusts and pulls in the opposite direction to restore
balance. This realization can help with understanding the
strategy of an opponent whether it is one opponent or an

273
army. Think of the philosophical applications this has in your
life.

7) Proper triangulation and alignments

This reference is directed towards the student’s triangulation.

In order to have proper control and mass to apply in a
technique, we must have proper triangulation.

This positioning also allows full use of all our weapons. Let’s
look at triangulation and how to align your self in relation to
an opponent. Let’s take the basic triangle of the upper body,
with the shoulders being the back of the triangle and your
hands forming the tip of the triangle (Figure 148). In this
posture, your upper body is aligned so that your center is
positioned behind the tip of your triangle. This is important
for full use of both arms, for parrying incoming strikes,
manipulation of attacker’s structure and balance. This
alignment also keeps the hips in a position for short, quick,
rotations that contribute to maximum power for striking and
manipulation. This triangle posture also allows for use of
kicking with either leg, to help strike and destroy the structure
of your opponent.

274
Figure 148

Figure 149

When we speak of aligning your triangles, look at the various

points of alignment. The student first should see the triangle
created by the shoulders to point of contact with the arms,
shown in Figure 148.

275
Then notice how this upper body alignment also forms a
triangle from the hara or navel area and third eye or forehead,
to the point where the hands extend (Figure 149).

Other points of alignment would be the lower body triangles,

hip-to-hip to point of contact with the arms, knees to point of
contact, and feet to point of contact. Use these various
checkpoints to help align your body, allowing for quicker
response to an opponent’s attacks, as well as better stability
and power for striking and manipulation.

It is also important to realize that by positioning oneself

behind the tip of a triangle, the opponent must strike around
that point, causing him to widen the arc of his strike; while at
the same time, allowing the defender the ability to respond
with shorter, more direct movements.

Training Drills

In the following section we will cover some of the drills that I

use in my school to convey the feeling and understanding of
the concepts of throwing. These drills should be done slowly
at first to see and feel the concepts and principles that we
have covered to this point. Sensitivity and feel are extremely
important. A student who rushes through these basic drills
will miss the subtle things that contribute greatly to a deeper
understanding of what we are studying.

Nagae Observation Drill

Have a training partner throw slow punches at you as you slip

to different angles and reposition your body. Your training
partner will punch slowly but extend through his intended

276
target. Your focus should be on the imbalance that occurs on
the initiation of the strike, middle of the strike, and end of the
strike when the intended target is missed (overextension).
After each punch is completed, your partner will have to
readjust his gaze and mental focus, shift weight to initiate or
start to throw the next strike, and rotate his center to hit his
next intended target. Look at all the motion that is needed for
your partner to accomplish his objective.

Your job is to look for ways to use his motion as well as the
motion of his center during transition.

Molding Drill

This drill is done in a similar fashion as the Nagae

Observation Drill, except this time your objective is to escape
and blend with your attacker’s movement, molding to his
contour.

This drill serves several purposes. On one hand, the

practitioner becomes more comfortable with escaping, giving
up the space the attacker wants and finding new space to
occupy. Also, because the idea of escaping requires the
practitioner to stay relatively close to the attacker and mold to
him/her. As the practitioner molds to the attacker’s body each
time, he or she should contact different parts of the attacker’s
body with the hands, arms, and legs.

277
This gives the practitioner the ability to feel the attacker’s
preparatory, or loading motion to project the next strike. It is
at these target areas where manipulation can take place.

In the following sequence of photos, you will see the defender

is slipping through the attacker’s punches. Each time the
defender gives up the space the attacker is trying to fill with a
punch, but stays relatively close to the attacker. Notice how
the defender contacts different areas of the attacker’s body.

This allows the defender the options of freezing the attacker’s

motion, speeding up the retracting side, stopping the
projecting side, and also attacking the creases to disrupt the
attacker’s structure.

Fold-Arch-Throw Drill

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This drill is one of the best tools I’ve found to convey the
essential components of throwing to the student. When
teaching, having a good physical vehicle to communicate the
concepts and having the student actually feel the formula for
creating a throw is priceless. In the performance of the
Fold-Arch-Throw Drill, the student’s eyes will be opened to
the vast amount of options one has when it comes to the
throwing arts. Once a student fully understands this drill, he/
she can create an array of different throwing techniques using
the formula taught by this drill.

The performance of this drill starts with attacking a simple

crease of the elbow, which creates a fold in the body, then
progresses to the manipulation of the spine to arch the body,
taking the head out beyond the body’s foundation, and finally
directing the off-balanced body to an unsupported angle,
creating the throw. In the following series of pictures, you’ll
find various techniques created using this simple drill. Take
your time with this drill; communicate with your training
partner and observe the effects on his body.

In Figure 150, the attacker has grabbed the lapel with his right
hand. The defender creases the elbow (downward) with his
left forearm to an angle unsupported by the attacker’s leg,
creating a slight fold of the body.

279
Figure 150

Figure 151

Figure 152

280
Figure 153

Figure 154

Figure 151 shows the defender immediately striking in an

upward and backward angle. The strike stays connected to the
face, arching the attacker, locking the spine, and placing the
head out beyond the feet. Note: The defender must not allow
the attacker to restore balance from the fold created in Figure
150 as the upward strike is performed it will allow him to
resist the arching strike.

In the last phase of this drill, (Figure 152) the defender directs
the arched attacker to his backward triangulation point to
complete the throw.

281
In the next sequence, we’ll take the same attack and show
how to create an entirely different technique using the same
concept. In Figures 153 & 154, the attacker grabs the lapel
with his right hand.

The defender checks the grabbing arm with the left hand
while delivering a quick, off balancing strike to the attacker’s
face and continues into a downward strike to crease the elbow
and fold his attacker. When creasing the elbow, be sure to
manipulate downward and outward to an angle that the
defender is not able to support. This will dramatically torque
the spine and manipulate your attacker’s center away from
you.

After creating the fold, the defender reaches around to grab

the hair in the back, opposite quadrant of the head. The
defender then torques the neck, locking the spine and creating
an arch by taking the attacker’s head out beyond his feet
(Figure 155).

After locking the spine and creating the arch, the defender
steps behind with the left foot and rotates with the attacker
taking him to the floor in Figure 156. The defender must keep
the elbow creased during this process so the attacker stays
unbalanced.

In the previous two sequences, we’ve shown the

Fold-Arch-Throw Drill working from a grabbing attack
because this situation is much easier to practice and to start to
understand the concept from. But understand that the concept
will work against all types of attack. In the next sequence, the
attacker is punching to the head.

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The concept is exactly the same. The defender starts with a
lean to angle #3 to bait the attacker (Figure 157). (This is
explained in the Leaning Factor portion of the Concepts
Chapter.)

Figure 155

Figure 156

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In Figure 158, the attacker throws a right punch to the
defender’s face. The defender shifts out to angle #4, escaping
the path of the punch, while guiding the punching arm down
with the left arm to fold the attacker.

This off-balancing parry must be done while the attacker is in

motion, before he has a chance to regain his own structure.
Immediately after creating the folding motion on the attacker,
arch the head with a knife-hand or forearm strike (that stays
connected) to arch and lock the spine (Figure 159).

Note that this arching motion must take the attacker’s head
out beyond his feet to eliminate any chance of restructuring
for balance and resistance.

Figure 157

284
Figure 158

Figure 159

285
Figure 160

With the attacker’s head and spine arched to this position, his
balance is broken and he is in fact weightless for the throw. In
Figure 160, the defender steps behind with his left leg and
rotates the arched attacker towards an unsupported angle
creating the throw.

In the last sequence, we’ll look at the ability to use the

Fold-Arch-Throw Drill to counter a joint lock attempt from
the attacker.

In Figure 161, the attacker is attempting to apply an outward

wristlock (kote geashi). As the attacker starts his motion to
apply pressure to the joint, the defender speeds up and
extends the attacker’s intended circle of the locking motion,
causing him to be off-balanced and folded. (Note how the
defender automatically aligns his triangle when performing
this action.) (Figure 162).

With the attacker folded, the defender strikes to the face to

arch the head and spine backwards (Figure 163).

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The defender moves his center towards the attacker’s back
triangulation point to complete the throw (Figure 164).

Figure 161

Figure 162

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Figure 163

Figure 164

In the last couple of sequences we’ve tried to show some

basic examples of the Fold-Arch-Throw Drill. Remember that
this is only a drill. It’s just a physical vehicle to feel and study
the principles of throwing. The techniques that have been
shown are just a few examples of a vast array of options. This
drill is an excellent vehicle for the student to experiment and
create different techniques.

Multiple Crease Throwing Drill

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This is a great drill to use to explore the various creases as
well as the effects they have on manipulating the body. Each
crease of the body can be considered a weak link when
attacked, to destroy the body’s ability to maintain balance, or
create resistance. The idea is to manipulate several creases of
your partner’s body, weakening his overall structure with
each crease. Use this drill to experiment and observe how the
manipulation of these creases, will set up, not only your
throws, but also your strikes, locks, and escapes.

Figure 165

Figure 166

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Figure 167

Figure 168

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Figure 169

Figure 170

In Figure 165, the attacker executes a double choke on the

defender.

The defender strikes down and inward to the elbow crease to

create a fold and crease the knees slightly (Figure 166).

The defender then uses the foot to further manipulate the

crease of the knee (Figure 167).

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The defender follows up with a palm strike to the face,
arching the head backwards creating the throw (Figure 168).

Then, experiment with changing the order of these creases.

Attack the knee crease first, then follow with the elbow crease
and strike the head to arch the spine.

Now, take these same basic creases and use them to bring the
attacker’s head in for the use of atemi waza.

Using the same attack, strike down into the elbow crease to
buckle the knees and fold the body (Figure 169).

While maintaining the pressure and the fold of the elbow,

strike the knee with a kick to further crease it, and bring the
head in close for the application of atemi waza (Figure 170).

Figure 171

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Figure 172

Figure 173

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Figure 174

Figure 175

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Figure 176

Immediately follow with a left palm heel and right elbow

strike to the face (Figure 171).

Continue the combination by following with a right back fist

strike (Figure 172).

Finish the combination with a left palm heel strike to the face,
arching the attacker backwards into a throw (Figure 173).

In the next example, the attacker throws a right punch, the

defender slips inside and parry blocks, manipulating the
elbow and creating a slight fold (Figure 174).

While maintaining pressure on the elbow crease, the defender

strikes the face with a palm heel strike, to arch the head and
spine backwards, out beyond the feet (Figure 175).

As the attacker’s upper body is arched back, the waist crease

is brought forward and up. While maintaining the arch with
the right hand, the defender strikes downward to the waist

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crease. This drives the attacker down and backward into a
throw (Figure 176).

Study how the use of your locking arts can contribute to the
refinement of creasing techniques. Experiment with various
joint locks and observe their effects, and how proper
application creates manipulation of other creases of the body.
Take the effect created by the joint lock, and identify and
attack other applicable creases to totally destroy the balance
and stability of the opponent.

Throwing is about creating imbalance. The more we learn

about creating imbalance, the more effective our throwing
arts will become. Think about ways to manipulate the
opponent’s balance, by destroying his structure.

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Without structure and balance, an opponent’s attack is
rendered useless. Think about it— what if every time you
reached to pick up an object, tried to take a step, threw a
punch, or moved your body in any way, you were faced with
losing your balance and falling down?

Much like a baby first learning to walk... how effective would

you be?

Take the time to observe balance and imbalance—in order for

an individual to move their body even in the simplest act of
walking, balance must become imbalance followed by
recovery. As Hanshi Bruce Juchnik told me when I first
began studying Kempo, “Movement is a falling process.” In
order to move the body, stability must succumb to instability,
and then regain stability. Is this not similar to one’s path in
life? In life, we become comfortable, and more stable in our
environment, due to our ability to manage and control the
things in it. When we face a new challenge or attempt to
accomplish something new, we are somewhat imbalanced due
to being in unexplored and unfamiliar territory. As we begin
to understand and manage these new areas in our life, we
become more confident and stable as a person. So, if
movement is a falling process, imbalance due to failed
attempts, and pain as a result of growth, all this must happen
before we can become a more knowledgeable, well rounded
individual. Look at the philosophical implications to our lives.

Look at the throwing arts in a different way. Work at

understanding balance and imbalance, and your
understanding of the throwing arts will deepen.

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CHAPTER 11

Striking

Striking

One of the most dynamic aspects of the Kempo arts is their

striking techniques. The Kempo stylist has the incredible
ability to execute a myriad of lightning-fast hand
combinations that come from different angles to overwhelm
an opponent. An important thing to remember about
striking—striking should serve two immediate purposes; not
only does a strike make impact and cause external and
internal damage, but it also destroys structure and balance,
creating the inability to withstand follow-up strikes.
Combination hitting should always be done with this frame of
mind.

When using advanced Kosho Ryu striking, the strikes are

directed to areas of the body that will manipulate the body
structure, setting up the next strike and eventually removing
all balance and therefore removing the ability to withstand the
attack. This thinking follows the preparatory philosophy of
Kosho Ryu Kempo.

Striking should always be done with a specific purpose in

mind. That’s not to say that your purpose cannot change if
you run into difficulty. Striking can be done for several
reasons.

I like to think of the different philosophies or mindsets of

striking as off-balancing, manipulating, void-filling, and

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destructive striking. Let’s first look at this from a
philosophical approach to life.

It is important to understand that our timing, approach, and

delivery of what actions we take in life, must be in
accordance with that which is needed at that specific time.
There are times when a forceful and assertive mind-set is
what the situation requires. Then, there are times when a
passive mind-set will accomplish more. It all depends on the
situation, and the emotions and point of view of the people
we’re dealing with at the time.

A very important aspect of this is the understanding of the

other party. Whether it be an opponent, a business associate,
or a person involved in your personal life, we must develop
an understanding of them. The better we understand
them—their moral convictions, their emotions, what’s most
important to them—the better our chances of winning or
succeeding at what we set out to accomplish.

So, if we take this philosophy towards life, we must apply the

same principles to our martial arts, and in this case our
striking. In the following pages, we’ll look at how and where
to apply our off-balancing, manipulating, void filling, and
destructive/ finishing strikes.

First, a strike can be done simply to off-balance an opponent

mentally and physically enable the defender to escape. In
figure 177, the attacker is moving in with a right punch, when
the defender sees motion, he angles off slightly to the right
while throwing a left strike to the position where the attacker
is moving towards (center pole of the octagon), making him
react to the strike and arching him backwards. This

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off-balances the attacker, allowing the defender a total escape
(Figure 178).

The use of striking to off-balance an attacker, mentally and

physically, when in a grabbing situation is essential for
accomplishing a total escape. In Figure 179, the defender
strikes with a finger thrust to the throat notch, forcing the
attacker to arch backwards and release his double choke. As
this mental/ physical off balance takes place, the defender can
now accomplish a total escape or engage the opponent
(Figure 180).

Figure 177

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Figure 178

Figure 179

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Figure 180

When using strikes to manipulate the attacker’s body,

remember they are used in order to: #1) manipulate or set up
the attacker for the next strike and/or #2) to manipulate the
body structure so the attacker can not use balance and
stability to withstand a blow.

When using striking to set up the body for follow-up strikes,

it is important to understand the creases of the body and how
they can be used to manipulate the body structure to
accomplish this purpose. Some simple examples of this
follow.

In this first sequence, the attacker throws a right punch and

the defender slips to angle #4 on the inside of the punch, and
performs a parry block (Figure 181).

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Figure 181

Figure 182

303
Figure 183

Using the left (and closest) hand, the defender strikes upward
to the face with a palm heel strike as the attacker rotates,
causing him to be arched backward (Figure 182).

Because of the backward arch of the upper body, the waist

crease area becomes arched forward to be struck with a
downward punch towards the attacker’s back triangulation
point (Figure 183).

In the next sequence, the attacker throws a right punch and

the defender slips/escapes to angle #4, inside of the punch
(Figure 184).

As the attacker shifts to initiate a second punch, the defender

strikes downward and inward with a punch to the waist crease
(Figure 185).

This strike creases the waist and brings the head down and
into a vulnerable position.

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When the attacker’s body structure is manipulated so that the
head is down and forward, the defender immediately follows
with a left palm strike and right punch. (Figure 186) This
combination continues with a right elbow strike, right back
fist strike, and left palm heel (Figures 187-189).

Figure 184

Figure 185

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Figure 186

Figure 187

306
Figure 188

Figure 189

Now, let’s look at an example of using strikes to manipulate

the structure of an opponent so that his ability to absorb or
take a finishing destructive blow is diminished or destroyed.
Before dissecting the attack and defense, remember, when we
are feeling balanced in our daily lives, we feel stronger and
more capable of handling the challenges and battles of daily
life. But when we are feeling out of balance, we seem to lack

307
the strength, confidence, and commitment to handle things as
well. That’s not to say that we don’t handle or deal with them,
but we encounter more difficulty. Much the same is true with
how an opponent receives a strike. If his body structure is
balanced, he may be able to absorb the strike; he may be able
to move with ease to avoid the strike. Neither of these
scenarios is what we want to happen.

In Figure 190, the attacker begins to throw a right punch; the

defender is leaning to angle #4 in a preparatory manner to bait
the attacker and allow for an easier transition to escape.

In Figure 191, as the punch is delivered, the defender slips out

to angle #3 (outside of the arm) and performs a parry block to
slightly manipulate structure and align the triangle.

Figure 190

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Figure 191

As the attacker rotates center to throw a left punch, the

defender strikes the weightless attacker with a quick right
punch causing the attacker’s spine to arch. This strike
removes the attacker’s ability to absorb any strike due to the
manipulation of his structure (Figure 192).

In Figure 193, the defender performs a male percussion strike

(otoko no atemi) on a weakened opponent. Striking to an
opponent in this position can cause an extreme amount of
damage.

Note that otoko no atemi will be discussed further later in this

chapter.

Void filling strikes are used essentially to fill in gaps or

spaces in our defenses especially when we are in transition
from one position to the next, during an avoidance or
escaping motion.

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These strikes allow us the time we need by intercepting the
attacker’s motion and occupying the center pole of the
octagon (neutral space between attacker and defender).

Figure 194, shows the defender slipping inside the right

punch of the attacker. Note the attacker will immediately fill
the void in the defender’s defenses. If the defender is to stay
ahead of the attacker’s tempo, he must dominate the timing
by using a void filling strike to offset the attacker.

Figure 192

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Figure 193

Figure 194

311
Figure 195

Figure 196

312
Figure 197

Figure 198

313
Figure 199

Figure 200

In Figure 195, the attacker throws a right punch and the

defender escapes to angle #4 (inside of the punch). Note the
hand posture of the defender, using proper triangulation.

In Figure 196, as the attacker starts to rotate his body to throw

the left punch, the defender shifts to the left (angle #3) and
strikes the face with a left palm strike to fill the void and

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allow for a follow up strike with a right punch. The defender
then follows with the desired hand combination to finish the
opponent (Figure 197).

Let’s look at another example of using a void filling strike. In

Figure 198, the defender slips outside the attacker’s right
punch (angle #3), performs a parry block and aligns triangles.

As the attacker rotates to throw the left punch, the defender

throws a right punch to fill the void and intercept the
attacker’s motion (Figure 199). With the attacker in an
off-balanced state, the defender finishes with a left punch
(Figure 200).

Destructive finishing strikes are exactly that–strikes that are

meant to finish the confrontation. While some of these other
strikes will finish an opponent whose structure has been
totally taken away, destructive finishing strikes are generally
power strikes. Strikes such as a powerful gyaku tsuki or
reverse punch (Figure 201 & 202) would fit into this
category. These strikes are male in nature and will be
discussed in the section of ototko no atemi or male percussion
striking.

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Figure 201

Figure 202

An important factor to remember is that all of the different

strikes that we have discussed are applied on an opponent
who is in rotation or frozen in a posture that allows for easy
destruction. When an attacker is in rotation, from one
structured posture to another, he is weak while in transition
and does not have the ability to resist or absorb the strike. If
the attacker is also placed in a frozen position at an angle to

316
which he is vulnerable, the defender’s strikes will have
maximum efficiency. Therefore we must use the mindset that
for our striking to be effective, we must first manipulate to
weaken the structure, creating a target that is in acceptance to
our strikes.

Onna No Atemi

Onna No Atemi or, female percussion striking, uses multiple

upper body strikes which come from a variety of angles to
overwhelm and destroy an opponent. These combinations
must be done in quick, tight combinations to avoid creating a
void for the opponent to fill.

As we have discussed in several areas of this book, any

technique, including striking, throwing, or locking, requires
proper escaping and triangulation to be effective. Through the
use of proper escaping, we create the need for the attacker to
readjust his/her mental and physical energies. This
re-adjustment causes imbalance mentally and physically. The
physical imbalance is created through rotation of the body. A
weightless state is created in moving from one position to the
next.

The use of proper triangulation goes hand-in-hand with the

use of proper escaping. Proper triangulation is used to
position the body, and to set up the hands for quick, direct,
and powerful striking. This positioning is also very important
in order to parry and redirect further attacks from the
opponent while manipulating his or her body structure.

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Figure 203

Figure 204

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Figure 205

When using the concept of triangulation to set up the hands, it

is extremely important to direct the tip of our triangle in the
direction we choose to accept. For instance, if we want to
strike at the attacker’s center, our triangle should be directed
in line with that center (Figure 203).

The body is pre-positioned for engagement, so the defender

can attack immediately as the opponent’s rotation causes a
weightless state.

This allows the defender to strike effectively to the

opponent’s center, by using just a slight rotation of the hip
(Figure 204).

If we choose to attack the opponent’s head or face from the

outside, striking in towards the center, our hands form a
triangle with the target with the forward hand along side the
head (Figure 205).

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This action is performed after the defender’s parry block and
manipulation of the arm. Positioning the hand in this area
places it in a blind spot, so the strike comes from outside the
attacker’s visual plane. In Figure 206, the defender
manipulates the hip, by rotating the toes of the right foot
inward, striking the side of the face as the attacker becomes
weightless on the secondary rotation. This strike would offset
the structure of the attacker, whereby the defender follows up
with an onna no atemi combination (Figures 207-212).

Figure 206

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Figure 207

Figure 208

321
Figure 209

Figure 210

322
Figure 211

Figure 212

Another variation of this technique would be slipping to the

inside of the right punch, parry blocking and directing the
triangle towards the outside of attacker’s head, contacting the
shoulder (Figure 213).

As the attacker rotates, retracting the right arm, the defender

rotates the hip inward, and strikes the side of head/face with

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an inward palm strike (Figure 214). This strike is delivered
when the attacker is in a weightless state, and is followed with
an onna hand combination (Figures 215 - 218).

Figure 213

Figure 214

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Figure 215

Figure 216

325
Figure 217

Figure 218

Using a preparatory mindset when positioning the hands for

use in striking is extremely important. Experiment and make
it a point to learn how different areas of the body react to
different strikes. Then practice subtle, hand positioning
following blocks and parries.

326
Note how this allows ease in performing various void filling
strikes that are quick, direct, and important for intercepting an
opponent’s motion.

Let’s take a look at some various examples of preparatory

hand placement after the initial parry or entry. Place the hand
outside the visual plane of the head as in Figure 219. Strike
inward with the heel of the palm to weak areas of the face/
head, as the attacker begins to rotate (Figure 220).

Devastating strikes can be targeted towards areas of the body

projected towards you. In Figure 221, after blocking from the
outside of the arm, the hand is placed in a direct line with the
retracted shoulder.

Figure 219

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Figure 220

Figure 221

As this shoulder projects to throw the second punch, the

muscle groups will be opening, therefore allowing for a much
more penetrating, effective punch to the incoming shoulder
(Figure 222).

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Another example of this strategy would be to counterattack
the projecting hip of an attacker as he rotates to throw the
second punch (Figure 223).

Figure 222

Figure 223

Building an Arsenal

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When attempting to put together several strikes into an onna
no atemi waza, we must remember that the combination must
have continuity and flow to gain maximum effectiveness, and
must be tightly constructed to eliminate voids for the attacker
to fill during execution. Look at how the body rotates, and see
how the rotation of the spine extends or swings the arms
towards the intended target. Also recognize there are several
weapons to strike with on each arm. These work in
conjunction with each other. Instead of striking just once with
each arm, use all the weapons available on a single arm when
striking. Let’s look at some basic examples of this.

The defender has slipped inside the attacker’s right punch and
aligned his triangles for engagement (Figure 224).

The defender then strikes on the attacker’s next rotation,

using a simultaneous left palm heel and right punch to the
attacker’s jaw (Figure 225).

The defender continues to rotate, following the punch with a

right elbow strike (Figure 226), and then reverses the rotation
by retracting the right hip, to hit with a right back fist, to
opposite side of the head (Figure 227).

330
Figure 224

Figure 225

331
Figure 226

Figure 227

332
Figure 228

The defender would then finish the combination with a left

palm heel (Figure 228).

Make note of how the rotation of the spine not only projects
the strike, but causes a counter retraction of the opposite arm.
Too often, we think only of striking with the projecting
motion and do nothing with the retracting motion of the arm.

Let’s look at another combination using the same guidelines.

In this combination, the defender has entered inside the
attacker’s right punch, parrying with the right hand, and
positioning the right elbow for the initial strike (Figure 229).

On the attacker’s second rotation, the defender strikes the

incoming shoulder with the right elbow (Figure 230) to stop
the projecting side.

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Figure 229

Figure 230

334
Figure 231

Figure 232

335
Figure 233

Figure 234

336
Figure 235

Immediately following the elbow strike to the shoulder, the

defender projects a right back fist strike to the side of the
attacker’s head (Figure 231) and a left palm strike (Figure
232). This is followed by a right punch (Figure 233), elbow
(Figure 234), and back fist (Figure 235).

Otoko No Atemi

Otoko no atemi, or male percussion striking, uses the

connection of upper and lower body centers, along with
proper triangulation, as well as proper skeletal and muscular
structure to produce maximum destruction to an opponent.
This strike can be totally effective whether the opponent is in
either a weightless state (in rotation), or in a frozen state.

The use of male percussion striking is often executed with the

use of a long, wide base, such as a zenkutsu dachi or front
stance. Using a wider base to deliver a strike results in
maximum torque and power. Having time to employ a strike
using a wide base requires the practitioner to have either

337
already escaped to an angle (requiring the opponent to rotate
to find him), or to have placed his opponent in a manipulated,
frozen position, from which he cannot withstand the strike.

Figure 236

Figure 237

As discussed before, the escaping arts are incredibly

important to achieving maximum efficiency in one’s striking,
throwing, and locking arts. If the practitioner wishes to strike

338
a weightless opponent with a male percussion strike, he must
reposition himself to an angle that requires the opponent to
rotate and cross his own center. The practitioner also must
immediately align his triangles, allowing for maximum
efficiency and effectiveness of the strike. This escaping, or
repositioning allows the practitioner the time needed to set the
base, aligning triangles, and executing the rotation for the
male strike.

An example of this would be for the defender to escape to the

outside of the attacker’s right punch and align triangles
(Figure 236). From this triangulated position, the defender is
loaded and ready to execute a strike. As the attacker rotates to
strike, the male percussion strike is delivered. (Figure 237)

Take the needed time to experiment with your striking. Strike

to different areas of the body. And notice the effects. How
does the opponent react?

Experiment with strikes to various joints. What structural

imbalances do they create? How can strikes to certain areas of
the body distort and manipulate, setting up other striking
combinations or throwing techniques?

Start to develop an eye, and an understanding of the

opponent’s body mechanics and how they react to various
strikes.

Study the following photos for a simple example of this.

The use of a downward strike to the waist crease causes the

pelvis to move down and away. This motion brings the head
and neck, down and in, for closer attack. In Figure 238, the

339
defender has slipped to the outside of the attacker’s punch,
parried and aligned triangles. As the attacker rotates, the
defender strikes the waist crease, bringing the attacker’s head
in for attack (Figure 239).

Figure 238

Figure 239

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Figure 240

Figure 241

341
Figure 242

The defender immediately follows with a right elbow strike

(Figure 240), a right back fist (Figure 241), and a left palm
heel strike (Figure 242). The manipulation caused by the
strike to the waist crease, allows for a devastating
combination.

Look at all the tools you have at your disposal. How can the
practitioner use the locking/ manipulation of an opponent’s
joints to destroy structure and balance, while setting up
important areas of the body for further attack?

Experiment with the various joint locks you are familiar with.
Notice how manipulation of these joints causes various
effects on the body. How can you use your striking to take
advantage of this? Learn to take the effect of the joint
manipulation and use it to make your striking incredibly
effective. Study the following sequence of photos.

Take this same area of thinking, and look at the effects caused
by various throwing techniques. Use the principles/concepts

342
to create structural imbalance for your throwing arts. Have
you ever had a throwing technique go bad? We’ve all had a
training partner who has caught his balance or re-structured
slightly, causing our technique to fall short. But most likely
your technique created somewhat of an off-balancing effect.
Take the effect caused by it, and employ your striking arts to
finish the confrontation. This would be demonstrating the use
of a peripheral mindset. In other words, don’t be so singularly
focused on your intended manipulation that you lose sight of
other possibilities.

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Yet, another area to study would be application of the
pressure points of the body. Learn how to strike in between
the muscle groups, to penetrate and activate the pressure
points. Study how certain muscle groups are opening during
an attacker’s movement, and others are closing. Striking these
areas of the body that are opening allows the practitioner to
get the maximum effect from his strikes.

Study the reactions and effects of striking to the creases of the

body. Experiment with striking these creases to various
angles of the octagon, and observe the effect. As you do this,
the doors will continue to open, and you will gain a better
understanding of how and why to implement your striking
arts.

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CHAPTER 12

Kata

The Study of Kata

In the context of Kosho, kata is a pre-arranged form of

fundamental martial components, and is one of the core
training devices in many systems. These components include
stances, blocks, strikes, and kicks. These pre-arranged
patterns are used to teach many aspects of the martial arts.

The history of kata can be traced back to a form called The 18

Hands of Lohan. The great Bodhidharma in 527 BC taught
this form to the Shaolin monks of China. The word kata,
which is translated to “form,” comes from the Okinawan
lineage of karate. Although the kata of Okinawa are just
several hundred years old, the Chinese arts which laid the
foundation for Okinawan karate have forms that date back
much further.

The premise of a form or formula, which allows a person to

memorize and practice, has been around since the beginning
of time and is not necessarily unique to the martial arts. The
simple task of building a fire for preparing food is a process
that could be considered a kata or form as it is a sequence of
tasks that need to be performed in a certain order.

Anytime we have a procedure, which has certain purpose in

mind, we organize the components and arrange them in the
proper order to create a formula by which to memorize and
practice them. In doing so, we create a kata.

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In the early stages, kata training takes the practitioner through
his or her basic fundamentals, while moving through a pattern
comprised of various angles and directions. This takes the
student through the progression of practicing basic
fundamentals from a still or standing position, to one of
movement and motion. This allows the practitioner to work
his stances and transitions, along with the proper timing for
blocks and strikes.

Kata also is used as a tool to enhance the practitioner’s

visualization of possible attackers, their positioning, along
with various target areas on an opponent. This visualization
training allows the student to execute his fundamentals with
focus, speed, power and intensity, without the threat of being
struck, or doing harm to another individual. Although kata is
a solo practice, it must be done with the assumption of the
attacker’s positioning and aggressive movement directed
towards the practitioner.

The student must then practice and repeat the form until he or
she has no need to think about the pattern or the techniques.
This allows the student to combine focus, speed, power,
timing and intensity in his form. This is the point where the
student begins to project his own attitude and spirit while
performing the kata.

In the physical sense, kata is an excellent tool to forge the

practitioner’s body. Repetition of kata helps build strength,
coordination, balance and proper breath control. Just as a
piece of steel must be forged to become a katana, or sword, so
the body must go through this process.

Strength Training & Application Training

346
The performance of kata should be looked at in two
ways—strength training and application training. Strength
training in the performance of kata is accomplished through
the use of large movement and motion. The stance work in
kata for strength training should be that of long, deep,
powerful stances. Although the transition from one stationary
posture to the next is difficult from these deep stances, the
practitioner strengthens the legs and hip region of the body.
All upper body movement, such as blocking and striking
techniques, is performed with large, powerful motion.

Application training in the performance of kata, is done with

shorter stances, allowing the practitioner to move more freely
from stance to stance. The upper body movements are
executed in a more compact manner. Blocks and strikes are
more direct, eliminating any extraneous motion, while
keeping the body aligned properly. This allows the
practitioner a more direct and effective application of his
technique. Note that this is done to allow the practitioner a
more efficient technique, which does not allow for voids,
which the opponent will attempt to fill.

It is important to understand that strength training should be

done before application training. As with learning any new
physical activity, one must start with larger motion. Larger,
more elongated motion is easier for the practitioner to observe
and replicate. As we become more adept at that physical
activity, we find ways to sharpen and refine the motion.
Hence, in the refinement process, we learn to eliminate excess
motion and become more direct with our application. Take
the time to apply this approach to your kata, and all your
physical activity.

347
Kata as a Tool for Studying Motion

Another aspect of kata that many people over look: kata is an

excellent tool for studying movement from one posture to
another. This can be referred to as transitional motion.
Transitional motion is the loading of energy in the muscle
groups that allows a practitioner to repel from one stance or
posture, to the next. In order to move from a settled stance or
posture, we must overcome gravity to initiate movement in
our next intended direction. Kata is a wonderful tool for this
study. In order to do this, the practitioner must slow down,
and notice what muscle groups will allow the body to repel
from the current stance. This may be a shifting of the hips, a
repositioning or rotation of a foot, a tensing of a certain
muscle group, or a manipulation of the arms, which will allow
for unrestricted adjustment and movement in our new
intended direction.

Let’s look at a specific movement from the kata Pinan

Shodan. In the transition from the second to third move, the
practitioner has stepped forward with the right foot into
zenkutsu dachi or front stance, and punched with the right
hand (Figure 247).

348
Figure 247

Figure 248

349
Figure 249

The practitioner must repel from this posture, stepping behind

with the right leg, and pivot his center 180 degrees to execute
a low block (Figure 248).

Since the practitioner has a greater portion of his weight on

the forward leg, and the right hip is projected, there must be a
retraction on the right hip and a body shift backwards to allow
proper weight distribution for the turn and block. This
retraction and weight shift must happen immediately after the
punch reaches full extension, to eliminate any pause in the
practitioner’s movement.

Place yourself in this stance and execute your right punch.

Now slowly make the transition to the next posture. Feel all
the motion needed to repel and move to the next position.

The idea is for the practitioner to automatically adjust the

body before taking the actual step behind to turn to the
opposite direction.

350
This is preparatory motion. It is the initial body repositioning,
which allows for a quicker, more balanced transition to the
next move.

The use of kata is invaluable, as a vehicle to experiment and

understand how the body moves, and especially, how
preparatory manipulation of the body structure enhances
economy in motion. Take the time to look deeper into your
kata. Learn to slow down, and observe motion, especially the
transitions from one move to the next. Let the kata be your
teacher, helping you gain a better understanding of how you
may move more efficiently, and move on time.

Bunkai

The term bunkai, can be translated to analysis or

interpretation. When we analyze our kata, we must take
several factors into consideration. First, we have to
understand that our opponent is not a stationary, stagnant
target; your opponent will not just throw the first strike and
just stand there, waiting for you to counter and apply your
designated self-defense technique. Realize that your opponent
is a living, breathing, moving body that will adapt and adjust
to environmental changes and stimuli.

Another aspect for consideration when analyzing kata, is your

opponent’s timing and distance, and the angle from which
they are attacking. Realize that in the performance of a
technique in your kata, the timing and distancing of an
opponent may change, as well as your timing and distancing.

Realize that the contact points of your technique must change

to accommodate this variable.

351
In the previous photos, the defender’s timing is delayed, so
the shuto or knife hand strike must be used to intercept or
block the incoming strike (Figure 250)

In Figure 251, the defender’s timing is enhanced, due to

proper visual contact, allowing him to move on the attacker’s
initial motion, striking to the face of the incoming attacker.

In another example of this, the opponent’s attack is coming

from a side angle. With proper timing and distance, the
defender strikes with a shuto to the face as the attacker enters
(Figure 252). In the same circumstance, but from a shorter
distance, the defender strikes first with the elbow (Figure 253)
to intercept the attacker’s motion, then continues with a shuto
strike to the face (Figure 254). This is an example of using the
different contact points of the knife hand motion.

Figure 250

352
Figure 251

Figure 252

353
Figure 253

Figure 254

In the analysis of kata, we must look at the motion of the

desired technique. Pay attention to the motion of your
blocking techniques. May they be used to intercept and
manipulate the structure of the opponent, placing them in an
off-balanced state, for further destruction through strikes?
How can the practitioner employ the blocking motion to
control the attacker through the utilization of throwing and
locking techniques? These are some of the aspects we need to
think about, and experiment with, in our analysis of kata.

354
Bunkai Examples of Kata

In this section, we will look at some moves in kata, and

explore some variations for their use. The individual moves
selected are from kata that are widely practiced by many
systems in the hope that the reader will be able to apply them
to their own studies.

The first technique is the opening move to Pinan #1. The

general explanation for this move is that the arms are brought
up in preparation to block (Figure 255). The practitioner then
turns to his immediate left, stepping out into front leaning
stance, blocking a front thrust kick from the attacker. (Figure
256).

Figure 255

355
Figure 256

An alternative explanation for this move would be that of

being grabbed by an attacker in front of you. In the first
variation of this move, the defender brings the right arm up
between the arms of the attacker, driving the forearm down to
crease the elbow joint. This creasing motion buckles the
knees of the attacker, and folds his body forward. The left
arm then comes around to grab the hair of the attacker,
twisting the head to lock and arch the spine (Figure 257).

356
Figure 257

Figure 258

357
Figure 259

The defender then steps out with the left foot, removing a
balance point from the attacker, and executes a throw (Figures
258 and 259). Perform this throwing technique with extreme
caution!

Let’s look at another variation of this technique. The defender

can, after folding the attacker’s structure from striking the
elbow crease. Bring the left arm across in front of the head,
striking and extending the arm. The defender then arches the
attacker’s spine, while keeping the attacker’s elbow close to
his body and steps out to execute the throw.

(Figures 260, 261, and 262)

358
Figure 260

Figure 261

359
Figure 262

Figure 263

360
Figure 264

Figure 265

361
Figure 266

Figure 267

The next move we’ll cover is the opening move to Pinan #2

(Nidan). The general explanation for this move is this: an
attacker who is to the full left of the defender throws a punch
to the face, while the defender pivots into a back stance, and
blocks the punch (Figures 263 and 264)

An alternative explanation of this kata technique would be a

frontal confrontation with an attacker. In this case, the

362
attacker has grabbed the lapel with one hand, to stabilize,
punching with the other hand. The defender blocks the punch
with the rising motion of the right arm (Figure 265).

After blocking the punch, the defender strikes with his left
forearm into the elbow fold of the attacker’s grabbing arm,
and simultaneously strikes the head with a right hammer fist
(Figure 266).

The defender then finishes with a left hammer fist strike to

the temple. (Figure 267).

This bunkai combines the second and third moves of Pinan

Nidan.

Figure 268

363
Figure 269

Figure 270

364
Figure 271

The kata Seisan has a move where the practitioner settles into
a stance and punches, then shifts backward to a neko ashi
dach, or cat stance, and executes a middle block.

The general explanation for this move is simply that the

practitioner shifts back to avoid and block the punch (Figures
268 and 269). Another interpretation of this move would be
that the arm extended to punch has been grabbed by an
opponent (Figure 270). The defender then circles the hand
around to grab and control the attacker’s arm, then shifts in a
backward direction, which hyper extends the elbow. The
chudan uke, or middle block is used to destroy the elbow joint
(Figure 271).

365
Jodan Age Uke–High Block

Chudan Soto Uke–Inside Middle Block

366
Chudan Uke–Outside Middle Block

Gedan Barai–Downward Block

Realize that any blocking motion that you perform, can be

applied as a joint manipulation. Look at the following photos
to see the various blocking motions and how to use them for
joint manipulation.

367
The Naihanchi kata is a widely practiced form, done by many
different arts. Choki Motobu, who is said to have performed it
500 times a day, made this kata famous.

Figure 272

Figure 273

368
Figure 274

Figure 275

Let’s look at the first several moves of the Naihanchi kata.

The general explanation of these moves starts with the
defender blocking a punch from the side (Figure 272). The
defender then grabs the attacker and pulls him into an elbow
strike (Figure 273).

369
The next move has the practitioner chambering the hands, in
preparation to block (Figure 274). Another attacker at the full
left, throws a front kick. The defender blocks it with a
downward parry (Figure 275).

Another interpretation of these moves would assume the

opponent is attacking from the front right 45-degree angle.
This is a close range situation.

Figure 276

370
Figure 277

Figure 278

371
Figure 279

Figure 280

The defender intercepts the attacker’s punch, with a right

ridge hand strike. Note that this block/strike intercepts the
incoming strike, off-balancing the opponent and draws him in
close to the defender (Figure 276). The defender follows
immediately with an elbow strike (Figure 277).

372
The defender then drops the arms into a chambered position
on the right hip. This motion drops or settles the attacker’s
weight. (Figure 278). The defender then strikes the
midsection, with a motion of a low block (Figure 279) and a
punch (Figure 280).

Let’s look at another explanation for the chambered catch

position, low block and cross-punch.

In Figure 281, the attacker has grabbed the defender’s right

wrist. The defender rolls around the outside of the attacker’s
arm to grab and secure his arm. This motion is augmented by
the left hand (Figure 282).

The defender strikes the extended arm of the attacker, which

drops the body weight and folds the attacker forward,
exposing the head for attack (Figure 283). This strike may be
targeting the extended elbow of the attacker, or may strike the
pressure point known as Triple Warmer #12 located in the
area of the triceps muscle. Pressure points will be further
discussed in the next chapter.

The defender then executes a cross-punch to the side of the

attacker’s head (Figure 284).

373
Figure 281

Figure 282

374
Figure 283

Figure 284

Pressure Points in Kata

The recognition and use of pressure points contained in kata

is an invaluable tool for the practitioner’s study. As
mentioned in the chapter on Kyusho-Jitsu, the use of pressure
points in kata, allows the practitioner to visualize striking and
manipulating specific targets for their movements in kata.

375
Study of the location, and the angle and direction of these
points, will enhance the practitioner’s insight and
interpretation, giving them a more profound meaning of the
moves in kata.

In this chapter, we have tried to give the reader avenues in

which to study their kata or forms. True study requires deep
and probing concentration. One must look at things from
many perspectives. For a practitioner to truly see, they must
first have an open mind, free from prejudice, opinion, and
ego. Look at your kata in this manner, and you will find an
invaluable tool for many areas of study within your martial
art.

376
CHAPTER 13

Pressure Points

Kyusho-Jitsu Pressure Point Attacking

Avery important tool to have in one’s arsenal as a martial

artist is knowledge of pressure points and how to apply them.
The study of Kyusho-Jitsu is vast, one that a student can
spend a lifetime researching and practicing—although this is
also true of all the other aspects of the martial arts.

Pressure point knowledge is an important part of being an

effective martial artist. It is not an end unto itself, but rather a
means to an end. It is an important part of the study of the
whole.

The study of Kyusho-Jitsu can be used to enhance a student’s

training in many different ways. Studying the location of
pressure points on the body teaches the student a great deal
about an opponent’s anatomy and makes the student more
aware of the body’s weaknesses.

This study has to include the proper angle and direction

needed to activate the points, as well as how and where the
points lie in between the muscle groups. Understand that
pressure points lie on energy pathways or meridians, of which
the points are the access spots of these meridians.

Another important aspect of this study is experimenting and

understanding how the body reacts to the different strikes or
manipulations of these points. This is extremely important to

377
operating in a preparatory state of mind, allowing the
defender to manipulate the attacker to set up the next move,
whether it is a strike, lock, or throw. For example, many
pressure point strikes or manipulations will cause a creasing
of certain joints, which in turn contributes to the destruction
of the opponent’s structure or balance.

This manipulation or destruction of the structure eliminates

the opponent’s ability to absorb a strike, creating maximum
damage when hit. It also eliminates the ability to resist a
throwing technique. It all goes back to balance; maintain your
structure and balance while eliminating your opponent’s!

The study of Kyusho-Jitsu also significantly enhances a

practitioner’s targeting ability. When studying and practicing
to strike and manipulate pressure points, the student must
target those strikes and grabs with pinpoint accuracy. This
practice requires the practitioner to attack points that are
located along the edges of bones, in the creases between
muscle groups, and in cavity areas. In doing so, the
practitioner’s targeting abilities are greatly enhanced and
focused towards efficient, effective strikes to vulnerable areas
of the body.

378
This mindset of striking/manipulating with pinpoint accuracy
also enhances the practitioner’s visualization skills when
working any solo aspect of martial arts training. This training
is especially helpful in kata training. Performing kata with
focus and intensity is difficult sometimes, due to the student’s
inability to visualize what and where the motion is directed.

Pressure point instruction greatly enhances the practitioner’s

visualization of these moves, allowing for better focus and
intensity.

Basic Pressure Points of the Hand & Arm

TRIPLE WARMER #3 (TW-3)

TW–3 is located on the back of the hand, approximately 1/3

of the way from the knuckles to the wrist, in between the
bones of the ring finger and the pinky finger. This point
responds best to a pressing application.

This point (TW-3) is attacked with the thumb during the

execution of a Kotegaeshi, or outward wristlock. Using this

379
point creates pain and helps weaken and crease the wrist for
application of the lock.

LUNG #10 (L-10)

This point (L-10) is located about mid-point of the first

metacarpal, in the meat of the thumb, just underneath the
bone. L-10 responds best to direct finger pressure.

This point can be used in conjunction with TW-3 when

applying an outward wristlock (kotegaeshi).

380
When using the two prior points (TW-3 and LU-10) in a
wristlock application, notice the folds and creases created in
the body’s structure.

HEART #6 (H-6)

This point is located approximately 1/2 AU, or about a

quarter of an inch, up from the wrist crease on the inside of
the forearm. Pressing this point into the forearm causes the
opponent’s wrist and grip to weaken.

381
Heart #6

LUNG #8 (L-8)

This point is located approximately one AU up from the wrist

crease on the thumb side of the inside of the forearm. Use this
point in conjunction with Heart #6.

Use Heart #6 and Lung #8 to create pain and weaken the wrist
in a grabbing situation. These points will allow the
practitioner to release the grab.

Lung #8

382
TRIPLE WARMER #11 (TW-11)

TW-11 is located approximately 2 AU (1 inch) above the tip

of the elbow on the tricep’s tendon. When attacking this
point, place the palm on the elbow tip, and fold the fingers
into a fist, digging the knuckles into the tendon and rub in an
up and down manner.

One self-defense application for attacking TW-11 is

performed from a cross wrist grab. In Figure 285, the
defender steps to the outside of attacker’s strength (angle #3),
and circles the hand around to grab the forearm to stabilize
and rotate the elbow upward for attack.

The defender then places his palm on the elbow point and
rolls the knuckles into TW-11. Digging the knuckles in and
rubbing in an up and down manner, while applying upward
pressure with the lower part of the arm for increased pain.

383
Figure 285

Figure 286

384
TRIPLE WARMER #12 (TW- 12)

TW-12 is located in the middle of the triceps muscle. Striking

this point into the bone causes the shoulder to release, and the
elbow to be locked, as well as the knees to buckle.

In the next sequence, the attacker grabs the left wrist with his
right hand. (Figure 287) The defender rolls the grabbed hand
around the outside of the grabbing arm and secures the
attacker’s forearm, and rotates the left hip back to
hyperextend the attacker’s elbow. (Note: make sure to rotate
the arm to position TW-12 upward, for ease in striking.)
(Figure 288).

The defender then strikes downward to TW-12, hitting with

the bone of the forearm. Remember to use your weight,
settling into this strike...hit with the body, not just with the
arm (Figure 289).

385
Figure 287

Figure 288

Figure 289

386
LUNG #6 (L-6)

L-6 is located on the inside of the forearm, approximately

halfway from the wrist to the forearm. This point responds
best to a striking motion.

When striking L-6, use a weapon such as a knife hand or the

boney edge of a forearm, angling into the point and back
towards the hand. Striking this point causes pain and
numbness in the arm and the release of the fist.

Using the retracting motion of the knife hand strike, hit the
point in and towards the hand. This also sets up head and
neck points for attack.

Next, take the projecting motion of the knife hand, and strike
STOMACH #9 into the neck. (Refer to ST #9 for placement
of this point.) Using this application lends much more
meaning to a shuto or knife hand technique performed in kata.

387
LUNG #5 (L-5)

L-5 is located approximately 2 AU or 1 inch in from the

outside edge of the elbow crease, and 1 AU or 1/2 inch down
on the inside of the forearm. Striking this point down and
towards the hand causes the knees to buckle and creates
multiple creases/ folds in the body.

For me, L-5 has become one of the most used pressure points.
Its use is essential for helping create imbalance in the body’s
structure. Being located on the arm, allows for easy access
and manipulation, especially in grab situations. In the
following sequence, LU #5 is initially used to destroy the
structure of the attacker’s body to set up a throwing
technique.

388
In Figure 290, the defender strikes L-5 on the attacker’s
grabbing arm, creasing the body and buckling the knees. This
motion brings the head forward for a hair grab that torques
the spine and arches the attacker (Figure 291).

In Figure 292, the defender rotates, twisting and locking the

spinal structure, while keeping the attacker’s elbow tight to
the body. This arches the spine and brings the attacker’s head
out beyond his base (feet).

In Figure 293, the defender removes his left leg (attacker’s

triangle balance point), stepping behind and throwing attacker
to the ground.

389
Figure 290

Figure 291

390
Figure 292

Figure 293

Basic Pressure Points of The Head and Neck

In this section we locate, and explain some points on the head

and neck, that are easily accessible for use in hand
combination striking, or attacking with finger pressure in a
grab situation.

391
Remember that attacking pressure point meridians on the
arms will activate these head/neck points, making them more
sensitive and effective.

STOMACH #9 (S-9)

This point is located in the inside crease of the

sternocleidomastoid muscle of the neck, level with the
Adam’s apple. The angle and direction for attacking this point
is a 45-degree angle into the neck.

One self-defense application for attacking S-9 would involve

slipping inside the attacker’s right punch while striking the
attacking arm with a right knife hand to L-6 (Figure 294).

Immediately following the strike to the attacker’s arm, the

defender strikes into the crease of the sternocleidomastoid
muscle, into the neck (Figure 295).

This point may also be struck with a spear hand thrust, seen in
many traditional kata (Figure 296).

392
Figure 294

Figure 295

Figure 296

393
STOMACH #5 (S-5)

ST-5 is the intersecting point of the two branches of the

Stomach meridian, on the face and head. This point lies under
the jaw, about one third of the way from the corner of the jaw,
in the indentation. This point is to be struck upward towards
the center of the head.

This point may be struck using several different, attacking

weapons. In Figure 297, the defender is using an elbow to
strike the arched opponent. Note the position of the head, with
the chin manipulated upward.

In Figure 298, the defender uses a palm strike to attack ST-5,

on a manipulated attacker. The spear hand thrust is also an
applicable weapon to attack this point.

394
Figure 297

Figure 298

TRIPLE WARMER #17 (TW-17)

TW-17 is located under the ear, in the crease behind the jaw.
Obviously, due to the location, this point needs to be struck
back to front.

395
This point may be struck on an opponent whose structure has
been manipulated to expose this area of the jaw. This may be
done by creasing the folds of the body through striking or
manipulation. (Figure 299)

Figure 299

LARGE INTESTINE #18

LI-18 is located directly under the ear, level with the Adam’s
apple. The point is located on the outside edge of the
sternocleidomastoid muscle. Strike this point towards the
center of the neck.

396
In Figure 300, the attacker throws a right punch, the defender
slips out to angle #3 and executes a parry block. After
parrying the strike, the defender extends the right arm
slightly. This pre-positions the right hand, to strike LI-18 on
the attacker’s secondary rotation.

As the attacker rotates to throw the left punch, the defender

strikes LI-18 with a right ridge hand. This strike is
accompanied by a left palm strike to TW-23. (Figure 301)

Figure 300

397
Figure 301

TRIPLE WARMER #23 (TW-23)

TW-23 is located in the depression of the temple, near the

edge of the eyebrow. WARNING: This point is never to be
struck while training! Severe damage can result from hitting
this point!

TW-23 can also be attacked using the hammer fist, as in the

Naihanchi kata. In Figure 302, the defender slips out to angle
#3 and parries the incoming punch.

398
As the defender starts his rotation to throw the left punch, the
defender strikes with a hammer fist to TW-23. (Figure 303)

Figure 302

Figure 303

In this chapter, we focused on some basic pressure points that

are applicable in many self-defense situations. These are by
no means the only points a practitioner should study. This
information is merely a guide to get you started on using
pressure points in your practice.

399
Familiarize yourself with these points, and how they lie in
between the muscle groups or crevices of the body. When
experimenting with these points, notice how they affect the
balance and structure, of your opponent. Also experiment
with your escaping/ repositioning arts, as well as your
manipulation of the attacker’s structure, to set up the body for
striking these points.

400
CHAPTER 14

Conclusion

The journey of a martial artist is not an easy one. A good

martial artist has a code in which he or she does the best they
can to live by. Attempting to live by a code of honor, respect,
compassion, and constant growth and improvement, is not an
easy path. But, it is a rewarding one! Especially for the
practitioner, who chooses to become a teacher of the martial
arts.

We all know of students who are lured to the martial arts by

its mystique. They set out with visions of attaining a state of
total self-confidence. When the newness of their training
wears off, and they come to realize that this process, or path,
requires constant struggle to achieve growth, their interest and
excitement begins to fade. Constant repetition of technique,
constant correction by the sensei, and the constant struggle to
become a better martial artist and person, can be a really scary
thing for many people.

As martial artists, we deal with physical conflict in our

training on a daily basis. The physical conflict in the dojo is a
microcosm of life. Everyday, in no matter what walk of life,
no matter what our personal or professional activities may be,
we all deal with some sort of conflict. We all have a certain
amount of conflict inside us. The battle is the same as that of
the one within the dojo.

As with the constant struggle for improvement in the arts, the

writing of this book has been a similar struggle. Words are an

401
extremely difficult means of communication, especially when
written. But because of that challenge or struggle, there has
been a great amount of growth for myself, and my students.

The incredible impact of the lessons and philosophies of my

teachers have, without a doubt, helped me through some of
the toughest periods of my life. In this book, I have tried to
challenge the readers to look deeper into their martial art, and
explore the concepts and how they can relate and enhance
what they already do. This text is meant to act as a guideline,
giving direction for exploration and experimentation.
Remember that it is important to refer back to this
information, for every time you do, your understanding
should intensify and expand.

Since this text is as much about philosophy and dealing with

conflicts that exist in everyone’s life, I again challenge you,
the reader, to internalize and start to apply these philosophies
in your everyday life. It is my hope that some of what is
written here may help you in your study of the martial arts,
and your study of balance in everyday life.

Jeff Driscoll, Sensei

402
403
Acknowledgements

Iwould like to take this opportunity to thank all the people

who have contributed to my development. Without their
direction and advice this book would never have be written.
First of all, I would like to thank the instructors who’ve made
an impact on my martial arts and my life.

There are two people who, other than my parents, have been
the most influential in my life. They would be Hanshi Bruce
Juchnik, my Kosho Ryu Kempo teacher; and Shihan Carl
Long, my Eishin Ryu Iaijutsu teacher. I’d like to thank them
for all the guidance and support they’ve given me through the
years. They both have shown me a different way of looking at
things.

Under their instruction, I have learned martial arts concepts

and philosophies that have truly changed my life for the
better. It is said that a good teacher can take you places
you’ve never been, but a great teacher can significantly
change the place you’re in. I am forever in their debt for
dramatically changing my life for the better.

Next I would like to thank Masayuki Shimabukuro Hanshi,

who I met through Shihan Long. Shimabukuro Hanshi, the
author of Flashing Steel, has, through his writings and
personal contact, opened doors for me in my swordsmanship
and in the way I look at life.

I would also like to thank Kyoshi Pat Kelly and Kyoshi Larry
Kraxberger for their guidance and their patience. They both

404
have contributed so much to my growth as a martial artist and
as a person.

I would also like to thank Shihan Tony Annesi, for

introducing me to conceptual martial arts and Master George
Dillman for his instruction in the area of pressure points and
Kyusho Jutsu.

A special thanks also goes out to all of my students who

contributed to the completion of this text: Tom Smith, John
Kelly, Rick Alexander, Wes Schwartz, John Pothering, Ed
Miller, Brian Cooper, Linda Mullins, and Angie and Drew
Knott.

Special thanks goes out to Cindy Jutras for her work in

editing this text as well as her calligraphy, and to Jon Ludwig
Shihan for the layout and design of the original work. Thanks
to Alexzander Warasta for his pictures of the Shaka-In
Temple. Instructional photos were taken by Linda Mullins.
Japan photos were taken by Jeff Driscoll.

And last but certainly not least, I want to thank Jennifer

Jordan. It is due to her inspiration and belief in me that this
book was compiled and completed.

405
About the Author

Jeff Driscoll Shihan

Jeff Driscoll has been a student of the martial arts for 28

years. He has been the owner and instructor at the Driscoll
Institute of the Martial Arts in Pottsville, PA, since 1986.

Driscoll Sensei holds ranks of 5th Dan in Ryu Kyu Kempo

Karate, 4th Dan in Kosho Ryu Kempo, 3rd Dan in Muso
Jikden Eishin Ryu Iaijutsu, and a 1st Dan in Tae Kwon Do.
He currently studies and teaches Kosho Ryu Kempo, as a
student of Hanshi Bruce Juchnik, and Muso Jikiden Eishin
Ryu Iaijutsu, under Shihan Carl Long and Hanshi Masayuki
Shimabukuro.

Driscoll Sensei has also been the host of the East Coast
Gathering since 1998, an event geared towards bringing
martial artists together from different styles and systems, in
an atmosphere of sharing and learning.

Contact Information:

406
Driscoll Institute of Martial Arts21 N. Centre Pottsville, PA
17901.
Email: senseijd2000@yahoo.com
www.driscollinstitute.com

Come visit our store at www.zanshinproducts.net

407
Memories

Oregon Summer Retreat 1986

Terry Webb, Michael Brown, Bruce Juchnik,

Jeff Driscoll, Larry Kraxberger, Marc Burnham

The First East Coast Gathering 1998

Larry Kraxberger, Pat Kelly, Jeff Driscoll, Bruce Juchnik,

Michael Brown, Terry Webb, Marc Burnham (bottom)

The Gathering San Diego 2000

408
Professor Wally Jay, Jeff Driscoll, Pat Kelly

The Gathering Reno 2007

Hanshi Paul Yamaguchi, Jeff Driscoll

Japan Trip 2005

409
Jeff Driscoll, Miura Hanshi

Dillman International Event 1992

Ron Richards, Sandra Schlessman, Jeff Driscoll

Eishin Ryu Iaijutsu Instructors 2007

410
Carl Long, Jeff Driscoll, Shimabukuru Sensei

Japan Trip 2005

Jeff Driscoll and Rick Alexander at Yagyu Village

Japan Trip 2005

411
Jeff Driscoll, Shimabukuru Sensei,
and Carl Long at Yagyu Village

Japan Trip 2005

Jeff Driscoll, Carl Long, Rick Alexander

412
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