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THE KEMPO HISTORY

OF

JAMES MASAYOSHI MITOSE

By

Nimr R. Hassan

With

William Durbin
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TABLE OF CONTENT
Introduction ............................................................................................................ .- 5 -

A. What is not about the martial arts will not be discussed

B. In order not to disparage an yone, names will be omitted

I. The Roots of Kosho Ryu Kempo – Mitose in Japan…… 8

A. Okinawan Roots – Choki Motobu…………………… 9
B. Japanese Roots………………………………………… 10
1. Seiko Fujita………………………………………11
2. General Roots…………………………………....11
a. Education………………………………….12
b. Religious Training……………………….13

II. Teaching the War Art - Mitose in Hawaii……………………17

A. 1936……………………………………………………….17
1. Returning Home…………………………………..18
2. The War in the Pacific………………………………………….18
B. 1941………………………………………………………..19
1. Pearl Harbor……………………………………….19
2. Tough Decisions…………………………………..20
C. 1941 to 1945………………………………………………21
1. Imminent Invasion………………………………..21
2. How to Fight to the Death……………………….21
a. Devastating Techniques…………………..22
b. Combinations………………………………23

III. Spiritual Growth and Disappointment…………………………26

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A. The War is Over, Time for the Peace Art……………..26

1. No Bod y Contact………………………………….26
2. Lectures of Love………………………………….28
B. 1953………………………………………………………..31
1. Time for a Change……………………………......31
2. Seminary and Ordination: Presb yterian………...31
C. Personal Discipline……………………………………….31
1. Training the Self…………………………………..32
2. Preserving the Art…………………………………33

IV. Kempo Disappointments………………………………………...35

A. Visiting Martial Artists…………………………………..35
1. Basic Knowledge (lacking)……………………….35
2. Fundamental Misunderstandings…………………38
3. Spiritual Weakness………………………………...38
B. Teaching Once Again……………………………………..39

V. Dissemination of Kempo…………………………………………49
A. From: William Chow………………………………………49
B. From: Ramon Lono Ancho………………………………..52
C. From: Nimr Hassan………………………………………..55

VI. Kosho R yu Kempo – The Complete Art………………………..62

A. The Octagon: Ninjutsu Roots Koga Ha Kempo………..62

B. Okinawan Techniques…………………………………….63
C. Auxiliary Arts……………………………………………..65
1. Kenjutsu…………………………………………….66
2. Kyujuts……………………………………………..66
3. Suieijutsu…………………………………….........67
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4. Hichojutsu (leaping, one leg techniques)……68

5. Noborijutsu (climbing)…………………………68
6. Karumijutsu (patterns & hanging)…………….69

VII. The Octagon – The Root of the Tree…………………………70

A. The Pattern……………………………………………....70
B. Ideas and Habits…………………………………………71
1. Theoretical and Practical Octagons……………72
2. Situational Response…………………………….73
3. Review and Evaluation………………………….73
C. Preparing for the Octagon: Drills…………………………….73
1. Physical……………………………………………75
2. Mental……………………………………………..77
3. Points of Reference………………………………79
C. The Targeting Method: the Nine Angles……………………..83
1. 3/8 Pattern…………………………………………83
2. 5/8 Pattern………………………………………..108
VIII. What is Self Defense? ....................................................136
A. Medicall y and Legally…………………………………..137
B. Morall y……………………………………………………141
C. Patterns of Movement……………………………………143
1. for Harassment…………………………………….143
2. for Avoidance of Injury……………………........145
3. for Life and Death…………………………………145
IX. What is True Self Defense?...............................................146
A. Spirituall y………………………………………………….147
B. Jesus and Buddha …………………………………………148
C. God………………………………………………………….153
About the Authors………………………………………………..156
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Use the idea of nine, to represent the earthl y level of development and
then ten is the concept of completeness, of perfection, which is the
final state to be achieved in the spiritual realm.

Introduction

Kempo. The Law of the Fist. One of the most exciting martial arts of

modern times. Some people think of Kempo as a modern martial art that was only

fully developed by modern American practitioners in the twentieth century. Nothing

could be further from the truth. Kempo is probably the oldest of the martial arts and

was fully developed before it ever came to the United States.

Kempo was the first martial art, though not the first fighting art. It was the

first art that was systematized and passed down through the generations from it’s

roots in China to Japan and Okinawa. Monks in China in passing down their

religion, also passed on a martial tradition that influenced the monks in Japan, who

passed on their ideas to the Samurai class, who not only influenced all of Japan, but

also passed on a foundation to the Okinawan martial artists.

Kempo was brought to the United States by James Masayoshi Mitose, who

passed on the art to a core group who ended up spreading the art throughout the

American continent and eventually throughout the world. While many of the Kempo
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branches have modified their specific art greatly, nearly all of the branches exhibit

the influence of the Kempo which James Masayoshi Mitose brought to Hawaii in

1936.

This book will introduce the reader to Mitose as the great martial arts teacher

who wanted nothing more than to give people the ability to defend themselves and at

the same time help them develop a spiritual foundation for their lives. Mitose was

raised as a Buddhist monk and went on to become a Christian minister. To him, the

spiritual side of his art was Kempo, not just something added on.

Be aware that this book deals with James Masayoshi Mitose as a martial

artist. Those aspects of his life, such as marriage, children, and other such factors

which are not germane to his life as a martial arts instructor will not be addressed.

Only his training, his teaching, and his lecturing will be addressed.

There will be some stories related in regard to Mitose’s interaction with other

martial artists. It is not the desire of the authors to disparage any of these martial

artists, therefore names will be excluded, and only the story that is necessary to an

understanding of some decisions Mitose made in regard to his martial arts will be

recounted. On the other hand, where certain individuals were exemplary in their

behavior and deportment in regard to the dissemination of Mitose’s teachings, they

will be honored and their name given.

Mitose was a great martial artist. He was a supreme martial arts master,

according to those who actually knew him and witnesses his martial prowess. Most
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of all, Mitose was a great teacher. When he taught people the martial arts, they were

inspired to keep up their training and share their skill with others. This is essential in

the proliferation of the art of Kempo.

Those whom Mitose taught carried Kempo around the world. As noted,

some of the Kempo systems so highly modified what they taught, that only the most

basic principles of Mitose’s Kempo can be recognized, but others seek to preserve

the actual Kempo of Mitose as originally as possible.

Still others seek to preserve Mitose’s Kempo in conjunction with other

aspects of Kempo as taught from the same root from which Mitose derived his

system. This includes in-depth aspects of Japanese Bugei (not modern sports

systems for which Mitose had little respect) and Okinawan, specifically, Motobu,

Kempo for which he had a high level of respect.

It is hoped that this book will help the readers understand the importance of

James Masayoshi Mitose and his original instruction on the island of Hawaii. It is

definite that the Hawaiian philosophy played a role in the philosophical development

of Kempo as it was spread around the world. But it was also the time in which

Mitose began teaching that formed the image that many people have of Kempo.

That of the deadly combat art which can destroy a man in a whirlwind of movement.

Yet Mitose emphasized that during the Pacific War (World War II) he taught

only part of the complete Kempo system, that being the war art. The other side of

Kempo is the peace art. It is hoped that this book will present for all to see the
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complete art of Kempo as Mitose originally taught it on the island of Oahu in the

beautiful Hawaiian Islands and how it spread beyond the island around the world, as

well as, how it has been preserved by those most trusted with the system.
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Chapter One: The Roots of Kosho Ryu Kempo – Mitose in Japan

Many martial arts legends begin with a temple in China, and the

true history of Kempo is no exception, as a matter of fact it may be

the truth upon which many legends are based.

Kempo began when Bodhidharma traveled to China to teach his

Buddhist religion. While there he taught the monks a series of

exercises to improve their health. It is believed that these exercises

were based on his skill in the fighting art of Vajra Mushti, which he

learned as a member of the Kshatri ya, the warrior caste of India.

In China, Kempo, which in indigenous Cantonese Chinese is

pronounced Chuanfa, was taught to successive generations of monks.

Eventuall y these skills were spread to other Buddhist temples and

even influenced the development of Taoist martial arts. The monks

eventuall y shared their skills with their religious followers.

As the monks spread their religion throughout the Orient, their

skills became known to the Samurai of Japan and formed the

foundation of the many martial arts that developed in that country

through the amalgamation of indigenous fighting skills with the

Chinese forms of Kempo. Later the Minamoto build upon these

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temple Kempo skills developing the full range of martial arts skills,

including among other disciplines, Ninjutsu.

Tametomo Minamoto, during his exile on Oshima Island after

the Hogen Incident, escaped to Okinawa, where with his followers, he

staged a comeback against his enem y the Taira. While there he had a

son by one of the Okinawan women. This son, Shunten, went on to

become the first king of Okinawa and established the royal lineage. It

is said that between Tametomo, and a guardian whom he left to teach

his son, Shunten was full y trained in the martial arts and it was this

skill that allowed him and his followers to take control of Okinawa.

On Okinawa, the secret martial art of the royalt y was kept

hidden from the rest of the Okinawans until modern times. There is

much that will be clarified in the following pages of how the Kempo

of James Masayoshi Mitose contained both the lines of Japanese

Kempo and Okinawan Kempo, but first it is necessary to understand

the development of two specific lines of the martial arts.

First of all, the st yles of Kempo, taught in the temples of Japan,

were comprehensive. First one learned a full range of empt y hand

skills, generall y known as Kempo. Then wooden weapons were

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mastered, for use as walking sticks as the monks traveled the land in

the pursuit of their religious duties.

Eventuall y the warrior monks, Sohei, of these temples also

trained with the Yari (spears), Naginata (halberds), and Katana

(swords), among other weapons of the time, in order to be able to

fight on the battlefield to protect their temples and assist those

Samurai who worshiped at them.

As noted above, the Minamoto famil y developed their temple

Kempo into the many martial arts of their famil y. This included

Ninjutsu and eventuall y gave birth to the Koga R yu and Iga R yu

branches, which influenced the development of man y other styles.

In the st yles of Koga R yu, Kempo and Ninjutsu were generall y

taught hand in hand. This is true of many Ninjutsu s ystems, with the

Kempo being the foundation of the stealth skills. By this time other

names had been coined for the empt y hand skills, but essentiall y the

root of all of them was Kempo. Some of the names coined were;

Taijutsu, Koshimawari, Kogusoku, Katchu, Wajutsu, Dakentaijutsu,

Jutaijutsu, and there were man y others.

Eventuall y the man considered the last Koga R yu Kagemusha,

shadow warrior as some called the Ninjutsu trained agents, to see

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action was Seiko Fujita, who was a sp y for the Japanese government

during the Pacific War. According to his own manuals, Fujita was the

third generation Soke of Namban Satto Ryu Kempo and fourteenth in

the line of the Koga R yu Ninjutsu. Fujita was an advocate of using

traditional Ninjutsu training for Ol ympic athletes, hoping to give

Japanese competitors an advantage in international competition.

On Okinawa other developments were occurring in the

improvement of Okinawan martial arts. Man y itinerant monks,

passing through Okinawa, shared their martial arts with the ro yalt y

who showed great interest in the skills. Later when the Japanese took

over Okinawa, the royalt y made friends with the Samurai and acted as

devoted students to the Japanese martial arts teachers. Though for

nearl y two hundred years they kept their own martial arts a secret.

Eventuall y, many commoners of Okinawa learned and modified

various forms of Chinese Kempo developing what is commonly called

Karate, but the royal art sometimes referred to as Karatejutsu, still

remained a secret until more modern times.

One of the ro yal Okinawan families which preserved their own

martial arts until modern times was the Motobu famil y. Descended

from the Sho d ynasty, they carried on a form of training that was
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known to the famil y as Gotente. When Choki Motobu taught in Japan,

he used the term Kempo Karatejutsu to designate what he had learned

from his teachers, including his brother Choyu, who decided to share

with his brother the famil y art, breaking the old famil y tradition of

onl y the eldest son being taught the special famil y art as a way of

securing their position as head of the famil y. Normall y other sons and

daughters were taught by Uncles or other famil y members who knew

their own form of Kempo, but not the special Motobu famil y art

preserved onl y for the eldest son.

This art was so highl y developed that even against a well

trained and experienced fighter, the skills gave the practitioner an

overwhelming advantage. These were some of the secret skills that

Choki Motobu brought to Japan and shared with his most dedicated

students.

This brings us to James Masayoshi Mitose, who was born in

1916 on the beautiful Hawaiian island of Oahu. At the age of five, his

parents sent him to Japan to receive a traditional education. If he was

trul y educated in the Japanese manner, he would have spend part of

his day in public school where he would have had the opportunit y to

study Judo which was a standard form of physical education at that

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time. After school, Mitose would have continued his training in some

manner, as so many Japanese students still do today.

According to Mitose, he was also trained in a temple, where he

was taught Buddhism and philosophy, including Christianity. He was

also taught more traditional martial arts as well. This is where man y

have disagreed, but certain reputable sources place the more

traditional martial arts education of Mitose in the hands of two trul y

great masters; the above mentioned Seiko Fujita and Choki Motobu.

Robert Trias, who personall y knew Mitose, says that he was

trained by Choki Motobu. When one examines Motobu’s books and

then looks at some of the pictures from Mitose’s book, What is Self

Defense?, it is obvious that there is a connection. Some say that he

may have been trained b y a student of Motobu, but Trias seemed to be

certain that Mitose trained directl y with the Okinawan master.

There have been those who postulated that Motobu was actuall y

a maternal uncle, but as yet that has not been verified. However when

one looks at the skills which Mitose possessed and the manner in

which he taught what he referred to as ‘follow-throughs’, the

connection to Motobu Kempo is definite.

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There has also been a Japanese Ninjutsu master who verifies

that James Masayoshi Mitose did in fact train with Seiko Fujita. It is

well established that Fujita was part of the entourage of Japanese

martial artists who trained with Choki Motobu. If in fact Mitose was

a student of Choki Motobu, it would also substantiate the fact that he

would have known Seiko Fujita and this would have given him the

opportunit y to train with the Japanese master of Kempo and Ninjutsu.

Most of all, Mitose taught methods in his personal and private

instruction that are much more representative of Japanese Kempo and

Ninjutsu, rather than just the Okinawan form of Kempo. His emphasis

on the training pattern he called the octagon is a fundamental aspect

of many J apanese Bugei, though it has been lost in the contemporary

sport development of modern martial arts.

It appears that Mitose used Motobu’s Kempo as the foundation

of his Kempo instruction, especiall y during the war era, as a

fundamentall y more direct fighting art. When the war was over he

began teaching methods of avoiding conflict which are more

characteristic of Ninjutsu and certain peaceful forms of temple

Kempo. In fact, Mitose himself referred to man y of the advanced

aspects of Kempo, as temple dance and escape patterns.

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When he came out of retirement in the 1970s, he admitted,

specificall y to his personal student Nimr Hassan, that he knew Koga

Ryu Ninjutsu. It has been said, by some of Mitose’s earl y students,

that during the 1940s Mitose used the term Shorinji Kempo in

reference to his art, and later when interviewed about his art in the

1960s, he referred to it as a famil y st yle he called Kosho R yu Kempo.

While there are man y potential explanations to this quandary,

rather than engage in speculation, it is better to just accept the fact

that he was teaching under a generic term during the war era and

decided to formall y promote his own art later in his life. This famil y

art comprised not just the ph ysical skills he had learned from Fujita

and Motobu, but also the philosoph y he had been taught as well. As

many of his contemporaries, most especiall y Morihei Ueshiba,

believed, there is no martial art without a spiritual philosophy upon

which it is based.

Mitose’s personal philosoph y was a combination of Buddhist

compassion and Christian love. According to Roy Suenaka, who

trained with Mitose as a youth in 1949, Mitose gave great lectures in

which he would quote from both Buddha and Jesus in teaching his

peaceful philosophy. The Hawaiian Islands philosoph y of Aloha, love

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in all it’s manifest forms, would surl y have encouraged this t ype of

faith and belief in a man alread y schooled in Buddhist and Christian

principles.

However, Mitose was not one to make people follow just his

religious beliefs, rather he taught that each person should believe as

their religion taught, as long as they believed in God. He stressed in

writings before his death that he did not interfere in another person’s

religious beliefs. Kempo was to be used to enhance a person’s beliefs,

not dictate them.

In the following chapters we will deal with in-depth the

teachings of the war years, the change to peace times, and what drove

Mitose into retirement and brought him out of it.

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Chapter Two: Teaching the War Art - Mitose in Hawaii

1936

The year was 1936 and twent y year old James Masayoshi Mitose

returned to Hawaii from Japan where he received his education. In the

earl y years of his return to Hawaii, Mitose practiced his martial art in

secret. At that time man y J apanese still kept their martial arts secret.

Judo, and it’s antecedent Jujutsu, was very publicl y known, but the

rest of the Japanese martial arts were still relativel y unknown.

Kempo at that time was a well kept secret. All of the arts

outside of Jujutsu, and man y aspects of actual Jujutsu were not taught

outside of Japanese families and the public art was very limited at that

time to the skills most associated with Kodokan Judo and it’s sport

derivative, were unheard of outside of Japan. What we take for

granted today, were m ysterious disciplines. Karate, Kempo, and the

many related arts were still considered secrets onl y to be shared

among the Japanese themselves. They were not meant for outsiders.

So as Mitose became reacquainted with Hawaii life, as a

territory of the United States, it never occurred to him to teach the art

to others, but rather to practice it himself as a way of physical culture

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and self defense should the need arise. However, he loved the sense

of freedom that he possessed living in an American territory. He

loved the sense of Ohana, famil y, that existed in Hawaii. The

overwhelming sense of love and cooperation which was an inherent

trait of the islanders struck a cord of harmon y in his heart.

He had just come from Japan, where the military were building

up for colonialism. He had seen the division among his own people,

as many supported the government out of loyalt y to the emperor, while

others, including himself, were against the war effort. Being in

Hawaii, he saw people wanting nothing more than to live in peace

while pursuing happiness.

Even the American military in Japan were viewed as being

present so as to ward off danger. They were not preparing to fight, or

even wanting to fight, they were there to protect the Hawaiian islands

from any aggressive action. Thus he loved the island upon which he

lived, and the United States, which at that time was a neutral country

hoping to maintain peace and securit y for all it’s territories.

Thus for five years, Mitose continued to train privatel y in

Kempo. Using the skills to keep himself health y and strong, while

adapting to his life on the island of Oahu, away from the militaristic
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attitude that he had witnessed in Japan, but immersing himself in the

Hawaiian culture of peace and love.

1941

Twent y five year old James Masayoshi Mitose enjo yed life on

the Hawaiian isle of Oahu. He loved the sun and the surf. The

rainbows that filled the sky after a tropical rain. The relaxed

atmosphere and sense of peace were intoxicating.

But there was an underl ying sense of tension, as the Pacific War

unfolded with Japanese Imperialism. Many stories were in the news,

announcing atrocities, but each person wondered how much was fact

and how much was exaggeration.

Still, with the American military presence on Hawaii, most

people on the islands felt secure. The American Nav y seemed strong

and well equipped. The thought was that no one would attack

America. After all, it was neutral and though the United States

provided aid to those countries currently at war, the great country

itself was staying out of the war.

Then December 7 t h , 1941 occurred. Japan attacked Pearl

Harbor. Ships were sunk, lives were lost, American territory had been

attacked. James Masayoshi Mitose was just as shocked as the rest of

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America. Maybe even more so, just as were the rest of the citizens of

Hawaii.

The islands of peace had been marred b y war. What was next,

was on the minds of everyone. At that time, the feeling was that the

Japanese would invade at an y moment. Hawaii and the American

military force prepared for invasion. The feeling of those living on

the Hawaiian islands was that invasion could come at an y time.

Mitose was torn. He had famil y still living in Japan, but the

United States was his home. While he had been educated in Japan, he

had been taught logic and reason. While the Japanese were taught

total loyalt y to the emperor, he knew that he was a United States

citizen and that his loyalt y lay with the people of the democracy.

Thus he joined the Hawaiian Territorial Guard and in 1942 open

the Official Self Defense Club and began teaching an yone interested

his Kempo. This was the first time an y traditional form of Kempo had

been taught outside of Japan and to those of non Japanese descent.

It has been reported that during this phase of his instruction he

usuall y just called what he taught Shorinji Kempo. This was so that

he could emphasize the traditional legend of the Shaolin temple and

the Chinese roots. It is believed that he did this to stave off any anti
 - 22 -

Japanese feelings after the attack on Pearl Harbor, since he knew the

people needed the Kempo training and it didn’t matter from where the

art came.

1941 to 1945

Imminent invasion! That was the thought on man y people’s

minds. After all, wasn’t that the reason for a bombing run? You

soften up a target to make it easier to invade? The thoughts of the

people on Hawaii, both citizens and military personal, were, ‘what

will we do when Japanese soldiers invade our home and we have to

fight them hand to hand’.

For James Masayoshi Mitose, the answer was, ‘I’ll teach my

students how to fight to the death.’ This was war! Mitose knew the

complete combat art of Kempo, which included those techniques

which were useful in a peaceful societ y, to avoid conflict and evade

attackers who were less than lethal.

But Mitose also knew the war art of Kempo. This was the

deadl y art, the one which could allow a defender to injure, maim, or

kill, but onl y if necessary.

The Kempo master also realized that he would not have enough

time to teach the students how to deliver withering blows in the short
 - 23 -

time before a potential invasion, thus he not onl y taught them the most

damaging strikes of Kempo, but also the most dangerous principle of

the art, Renzoku Ken.

To make the blows as effective as possible, Mitose used the

Okinawan concept of striking a Makiwara. It is the use of this devise

that allows researchers to know without a doubt that there is an

Okinawan connection to Mitose’s Kempo. Prior to this time, the

Makiwara was little known outside of the Karate arts of Okinawa.

The Makiwara of Mitose’s book is almost exactl y the same as the one

that can be seen in Motobu’s book. Even the dual nature which can be

seen of the Makiwara in Motobu’s book, with a high and low pad,

matches the t ype in Mitose’s book. Many Okinawan Makiwara onl y

had one pad at shoulder level mainl y for conditioning the fists.

Among the students that James Masayoshi Mitose taught during

this period was a native Hawaiian, Ramon Lono Ancho. He

remembered that the Kempo master taught what was referred to as

‘follow-throughs’. These ‘follow-throughs’, known in the

Kempo of Okinawa as Renzoku Ken, were combinations that could

combine a lethal set of strikes. Whereas a master of Mitose’s level

could deliver one strike with deadl y consequence, he knew that most
 - 24 -

of his students would not be able to develop that kind of skill in the

short time he believed they had.

Within these techniques were many t ypical Jujutsu skills. This

is in keeping with the knowledge possessed by Seiko Fujita. One has

but to look at the books published b y Fujita to see how prodigious his

knowledge was and how he believed in accumulating every piece of

knowledge possible.

While Fujita was the Soke of Namban Satto R yu Kempo and

fourteen generation head of Koga R yu Ninjutsu, his books show an

incredible amount of knowledge about many other s ystems, both

empt y hand and weapons. Among the styles whose knowledge Seiko

Fujita became proficient in and sought to preserve were; Shinto Muso

Ryu, Takeuchi R yu, Toda R yu, Yoshin Ryu, Shin Shinto R yu, Seishin

Ryu, Tenshin Shinyo R yu, and Motobu’s Kempo.

Most of this knowledge was taught under the Kempo banner b y

Fujita and would have influenced Mitose’s method of teaching and

preserving knowledge. It is known that Mitose and Henry Seishiro

Okazaki were good friends and shared knowledge. Okazaki is the

great founder of the Kodenkan tradition of Jujutsu. When Ancho

 - 25 -

studied on Hawaii he trained with both men and found that the manner

in which they taught allowed the skills to be interchangeable.

Mitose’s method of ‘follow-throughs’ allowed any legitimate

self defense skills to be blended into his Kempo. Thus he was always

open and searching for what he considered Shin, that is ‘real’, self

defense movements.

Many people didn’t understand Mitose, in that he was totall y

against the sport aspect of the martial arts and onl y accepted ‘real’

skills into his practice. At the time that he left Japan, Judo was a very

popular sport among young people, and Karate was just beginning to

reall y develop a sport method. He rejected both of these ideas, in that

all too often martial sports develop aggressiveness in people, making

them more likel y to fight, rather than peaceful and nonviolent.

Much of what Mitose taught in the war years consisted of very

basic block, punches, and low level kicks, along with t ypical joint

locks and basic throws. The emphasis was in putting these moves

together in withering combinations that would allow the beginner

practitioner to gain the initiative and then defeat an opponent b y the

accumulation of damage.
 - 26 -

Many people who trained with him at this time recognized the

lethal nature of this side of Kempo. Some thought the art too basic

and desired to add to the knowledge that he taught. What few realized

is that he was teaching what the students were capable of learning.

These people were beginners and not read y for the trul y advanced

techniques and principles of Kempo.

Still Mitose drilled his students on the fighting skills of the war

arts all during the Pacific War (that which occurred in the Pacific

Theater of World War II). All during that time many of the citizens

were sure that the Japanese would invade at an y time.

Finall y, during 1945, as the war waned and it became evident

that Japan was loosing, people began to relax. Many of Mitose’s

students still wanted to train, having developed a love of the art of

Kempo and the physical skills they developed.

All during the war years, Mitose still made it clear that there

was a philosophical basis to the art of Kempo and that it was not just a

violent form of fighting. He emphasized a foundation of Buddhist

compassion and Christian love, quoting from both the words of

Buddha and Jesus.

With the end of the war in 1945, things were about to change.
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Chapter Three: Spiritual Growth and Disappointment

James Masayoshi Mitose was thrilled, the war was over. Now

he could teach the entire art of Kempo to his students. He no longer

had to just teach the war art. Whereas before, he was sure that his

students would be thrown into a life and death battle, if the Japanese

invaded, now he could train them for life.

Kempo was not just about the life and death battle of war, it was

also about the totalit y of life. While due to the interest of his

students, Mitose continued to train his students in the devastating

combinations that many of them seemed to love and thrive on, he now

wanted to teach the deeper principles of Kempo. This was what he

thought of as the peace art.

No Body Contact

The essential aspect of the higher level of Kempo was what

Mitose referred to as the temple dance and escape patterns. These

escape patterns were designed to avoid body contact with an attacker.

Mitose at heart, at this time of his life, was a Buddhist monk.

He trul y wanted to teach peace to his students and knew that a

 - 28 -

preoccupation with fighting would keep a person from ever achieving

true peace.

It is essential that a person first find peace within, then they can

strive to have a peaceful environment. If one cannot be at peace in

their own hearts, it is impossible for them to be at peace with other

people.

During the war, man y of his students were obsessed with the

actual fighting skills of Kempo. Mitose attributed this to the feeling

of insecurit y in the face of potential invasion. But sadl y, several of

his students never seemed to get over the obsession and as the Kempo

master made the shift from war art to peace art, these students didn’t

make the change as well.

Hoping to spread the philosoph y of Kempo around the island,

Mitose wrote a book in 1947 he called, What is Self Defense?. He

actuall y wrote the book simpl y as a guide to philosoph y and history.

Mitose emphasized that Kempo is Goshinjutsu, that is, it is the

art of self defense. In that regard, Mitose wrote, “believe in God,

obey the law, live in societ y in peace and happiness”. This is what

James Masayoshi Mitose taught was true self defense.

 - 29 -

Mitose emphasized the origin of Kempo from Daruma, the main

history taught by the Okinawan masters. Just as the old masters of

Okinawa taught, Kempo is an art of self defense and should never be

practiced as a sport or a game.

In the book, Mitose related man y stories from the various great

masters he respected. These stories included man y master of the

various st yles of which Seiko Fujita was familiar. Each story was a

lecture designed to teach a moral lesson to Mitose’s students, just as it

seems Fujita taught those lessons to Mitose.

Kempo, as Mitose taught it, was the law of the fist. A law is

the commandment of God, and thus Kempo should be practiced onl y in

the context of a command of God. For those who understand the

spiritual context, Kempo trul y is a divine form of training. This is

what Mitose tried to get across to his students, a lesson he feared the y

were not learning, or maybe even listening to.

Lectures of Love

When Mitose taught Kempo, he used little Japanese language,

feeling that it was better to Americanize the art, so that an yo ne of an y

country could full y understand what they were learning. Among the
 - 30 -

Kempo master’s students were those of Hawaiian, Japanese, Chinese,

and other descents.

During his classes, Mitose gave man y lectures. These lectures

always focused on God in some manner. He taught that Kempo must

be practiced according to one’s conscious and the dictates of God.

That’s why, when he would hear stories of his students having fights

on the streets, in some cases just trying out their art for the sport of it,

against some other martial artist, he would be very dishearten.

It was Mitose’s hope that Kempo training would by it’s very

nature infuse faith in God in his students. He hoped that his students

would read the Bible and learn to be peaceful people. Mitose reall y

believed that ‘blessed are the peacemakers’ and he hoped his Kempo

students would be peacemakers.

Many of his lectures would be on love. He hoped that through

the examples he would give from the life of Buddha or Jesus, that his

students would be inspired to grow in love one for another. He hoped

they would live peaceful lives and avoid violence.

Mitose was proud of many of his students and what they had

done with their lives and how far they had come in their development.

But still, he felt that many of the students were caught up in the ego,
 - 31 -

macho, and aggression of martial arts training. He was beginning to

have second thoughts about continuing to teach his beloved Kempo.

Mitose wanted to teach love. He wanted to make the world a

better, safer place. He wanted to build faith in God. But as one of his

students in 1949 admitted, ‘when Mitose would start to give his

lectures about love, peace, and the teachings of Buddha and J esus, I’d

get drows y and even sometimes fall asleep’.

From 1942 to 1953, Mitose taught Kempo to man y students. He

taught both Keiho, that is the Kata method, and Jitsute, the real skill,

which referred to practice between two Kempoka, learning the actual

application of all the moves of the martial arts.

He awarded Shodan, the first level, to onl y five students. Now

this Shodan was not the same as the Shodan of other martial arts.

Like man y traditional martial arts, those prior to the development of

the Kyu/Dan grading s ystem, Mitose’s grading scale originall y onl y

had three levels. Shodan simpl y meant first level and could very well

be considered equivalent to a third or fourth black belt today.

Man y of the other students Mitose trained but never graded

would have been graded black belts by today’s standards, thought they

remained ungraded in those earl y days in Hawaii.

 - 32 -

1953

It has been said that one of Mitose’s students who had been

awarded a Shodan, opened his own school and began to teach in a very

violent manner. Whereas, Mitose had been deemed severe and stern,

this student appeared to be aggressive and harsh.

Mitose was always loving and caring. His students knew that at

the heart of his strict training was a loving demeanor. That his

students never doubted.

When Mitose realized that his beloved Kempo was being

mistaught and he feared misused, he began to prepare for a change.

Thus throughout 1952, he began preparing Thomas Young, his most

dedicated and gentl y loving student, to take over his school.

Finall y in 1953, J ames Masayoshi Mitose left his beloved

Hawaiian islands to move to California, where he planned to further

his spiritual training, entering the seminary and eventuall y being

ordained as a Presbyterian minister.

Personal Discipline

Mitose, like many displaced martial arts masters, who without

benefit of students continued to train during his solitude in California.

 - 33 -

He watched with interest as the martial arts began to grow in the

Western world, especiall y in the United States.

The Kempo master trained in the traditional manner of his

teachers while watching the developments of the martial arts around

the world. He noted with interest the Chinese martial arts movies. He

would sometimes watch with humor the antics of the Chinese actors,

noting how little realism there was in the films.

Sometimes Mitose would travel around and visit different

martial arts schools. Usuall y he’d just drop in and watch the classes

in progress. He was always pleased to see good technique, but was

disappointed at some of the tournament developments, where many

techniques were being practiced that could score a point in the

competitions, but would be ineffective in self defense.

Mitose would also visit those who taught Kempo when he had

the chance. Since it began with him in Hawaii, he was always

interested in how Kempo was progressing. He watched with interest

the techniques that were now being practiced by the Kempo teachers

and students in California. Every once in a while he would share

techniques with these Kempo practitioners. Taking for granted that

 - 34 -

some of the Kempo teachers were knowledgeable, Mitose would man y

times demonstrate very sophisticated skills.

James Masayoshi Mitose practiced his own Kempo religiously.

For him it was not just a physical discipline, but a mental and spiritual

discipline as well. Kempo was Mitose’s passion, so that his training

sessions were enjoyable, even when working out by himself.

Mitose knew that part of his training was in the context of

preserving the wondrous art of Kempo. The Kempo master missed

teaching in the classroom, but he was so disappointed by the lack of

desire for learning the spiritual part, that he was almost afraid to come

out of retirement.

With what he was seeing, the development of tournament

techniques, rather than realistic self defense, the unrealism of the

moves in the Chinese martial arts movies, and the lack of interest in

trul y sophisticated skills, he just wasn’t sure there was a place for him

and his Kempo.

Thus through the late fifties and sixties, Mitose continued to

practice his Kempo, preserving the traditions he’d learned in Japan

and shared with the students of the Official Self Defense Club.
 - 35 -

During those two decades he traveled to Japan upon occasion

and visited famil y, friends, and martial artists. While little is known

about these trips, it has been assumed that Mitose spent some time

with Morihei Ueshiba, for in his last will and testament, Ueshiba

directed that Mitose be issued a position of remonstrant in Aikido and

honorary Judan, tenth degree black belt. Copies of these certificates

are in the possession of members of the Kosho R yu Kempo famil y.

It was always in his heart that someday he’d pass on his Kempo

knowledge to posterit y, but he just wanted to be sure that he would

share it with someone who would appreciate what they were learning

and who would pass it on as he taught it to them. For at this point in

his life, the complete s ystem of Kosho Ryu Kempo meant the world to

him.
 - 36 -

Chapter Four: Kempo Disappointments

The seventies came and the growth of the martial arts reall y

began. Students of the original men who brought the martial arts back

from the Orient began to teach as well. Some of Mitose’s students

had begun to spread Kempo around the world too. This was a great

time for the martial arts, but from Mitose’s point of view there were

some problems.

Visiting Martial Artists

James Masayoshi Mitose hoped to help Kempo develop properly

and so began visiting some Kempo instructors in California during the

earl y 1970s. His hope was to share with these Kempo students the

trul y advanced principles of Kosho R yu Kempo, but first he wanted to

test their knowledge and understanding. This is where he first started

to realize there was a problem.

First of all, he realized that much of the basic knowledge, which

he took for granted that they would know, was unknown b y these

individuals. The concept of the octagon, which was not only central

to Kosho R yu Kempo, but man y of the Japanese martial arts s ystems,

was not understood in it’s correct form by these individuals.

 - 37 -

What Mitose considered primary concepts and which he used as

the foundation of his footwork, hand movements, and advanced

grappling skills, to be used in non lethal situations, was almost

unheard of in the Kempo of these practitioners.

Most of all, there were some very fundamental

misunderstandings as to the true nature of Kempo. While these

individuals promoted the idea that Bodhidharma (Tamo, Daruma) was

the founder of Kempo in the Chinese monastery of Shaolin, the y

taught an extreme amount of violence.

The techniques which these individuals taught, while based on

the war art, as Mitose had taught it in Hawaii, were not moderated at

all, or adapted to non lethal situations. Mitose always emphasized

that Kempo should be practiced as a command of God.

Bodhidharma, and the martial monks of the Shaolin temple,

were first and foremost, compassionate and peaceful men. While the

monks learned how to perform all martial arts skills, including lethal

ones, they were reluctant to fight at an ytime. Onl y the most severe

situation could bring the peaceful monks to the point where they

would use their Kempo capabilities.

 - 38 -

Otherwise, Kempo training was viewed as religious discipline.

While the Zazen of the temple was used to experience stillness, the

Kempo of the temple was used to experience stillness in movement,

which is so essential for actual life. No one goes through life onl y

sitting and doing no work, but rather moves through life in some

manner, doing whatever their occupation, vocation, or avocation

dictates.

This, Mitose saw as the most serious weakness of all. It seemed

that the Kempoka that he was trying to instruct were not reall y

interested in the true spiritual nature of Kempo. It seemed that these

individuals were more interested in better forms of violence, than they

were in spiritual development.

This lead to an event that was to motivate James Masayoshi

Mitose and bring him out of retirement. Mitose had been visiting this

group of Kempoka for around five months, hoping to get

inquisitiveness created in advanced principles of Kempo. The main

problem in that regard was that he showed them very sophisticated

techniques, thinking they would recognize the advanced nature of

what they were seeing and thus have a desire to learn more.
 - 39 -

Sadl y, these Kempoka saw onl y the movements that Mitose was

doing and didn’t comprehend the principles that he was demonstrating.

Thus, not understanding what they saw, they tended to criticize.

Usuall y they did this after the Kempo master had left the room, but

this one particular incident they lacked discretion. As Mitose was

putting his shoes back on, one particular instructor said that the

technique the Kempo master had just performed was nonsense and

totall y impractical.

Mitose was shocked. This was a total breach of martial arts

etiquette. Most of all, he had been showing them excellent

techniques, and while they might not have understood what they saw,

he hoped they’d be intelligent enough to be interested in it and want

to learn more. At the very least, not recognizing what the Kempo

master was doing, they should have been polite enough to assume he

knew what he was doing and shown discretion at least in his presence.

An interesting point, the technique Mitose showed, which

caused the indiscreet statement noted above, was actuall y a simple

little intermediate technique, designed to create an opening so that a

more damaging move or throw can be applied. He showed the

Kempoka how it was possible to bend over and strike a point on the
 - 40 -

foot of an assailant, in certain self defense situations. This same

technique has been taught b y Aikido instructors and certain Ninjutsu

instructors in the United States for years. Yet, at that time, when

martial arts were still young in America, these Kempoka were too

inexperienced to recognize what in Japan is considered a simple, yet

useful, self defense technique.

Teaching Once Again

Mitose left the Kempo school. The more he thought about what

had happened, the angrier he got. Thus, in the hopes that he could

reintroduce the true and total art of Kempo to the public, Mitose

decided to teach again.

At that time he let the word out, he was coming out of

retirement and he was looking for someone who would dedicate

themselves to his system. Mitose’s idea was to train an assistant

instructor who would be able to help him in a new Kosho Ryu Kempo

Dojo.

It just so happened that a young man was looking for a real

martial arts master with which to train. Nimr Hassan was ten years

old when his Aunt Barbara (Barbara Southall Lee) threw him with a

Judo throw, when he was trying to be disobedient and roam the house.
 - 41 -

That simple throw started Nimr on what would be a lifelong journe y

and bring him to the master, James Masayoshi Mitose.

Nimr practiced the Judo his aunt taught him faithfull y. He had

a special friend who worked with him and trained with him during

those youthful years in Philidelphia.

On August 1, 1966, Nimr joined the Marines. His career lead

him to Paris Island, South Carolina; Camp June, North Carolina; Camp

Pendleton, and finally to Vietnam.

Nimr served his country in Vietnam during 1967 and 1968.

While in the Marine Corp he continued training in the martial arts,

specificall y the Combat Judo of the era. Eventuall y he was honorabl y

discharged on Jul y 27, 1970.

Over the years, prior to hearing about Mitose coming out of

retirement, Nimr had an opportunit y to further his training in the

martial arts; studying the arts of Jujutsu, Aikido, and Karate. Yet he

knew that there were suppose to be great masters of the martial arts

and he reall y wanted the opportunit y to train with a real master

teacher, thus in 1973, when he had the opportunit y to meet the Kempo

master, he jumped at the chance.

 - 42 -

Yet Mitose was very much a traditional master, and the first day

that Nimr appeared at his house, Mitose had his wife talk to the young

man and turn him away with instructions to come back the next day.

When he returned, Mrs. Mitose once again turned him away, this time

with instructions for him to return the next day at 5:00 AM.

Nimr reall y wanted to train with this master and so was at the

house at 4:50 AM. Yet when he first saw Mitose, when the master met

him at the door, he was unimpressed. Mitose invited him into the

house and continued his workout while talking to the young man about

the dedication it would take to learn his s ystem and progress in real

Kempo.

Finall y, after the master had finished his workout, during a

pattern of movement which Nimr didn’t recognize at the time, Mitose

asked the young man to follow him outside to the backyard. There on

a tree hung a Makiwara. It looked liked a standard punching board,

but when Mitose instructed the young martial artist to punch it, which

he did with relish, he found that it was an unpadded piece of wood,

with a thin covering over it. The punch had been solid and powerful,

and painful.
 - 43 -

Mitose smiled and said, “Now punch it like that ten more times

with each hand. If the sound isn’t just as solid then you are not the

kind of person I want to train.”

Nimr passed the test of the master and began to train directl y

under Mitose. The training was intense, focused, and challenging.

Mitose drilled the twent y six year old man on balance, breathing, eye

training, and foot patterns. Nimr learned the temple dance and other

Kempo motions that were unique to Kosho R yu during these dail y

sessions.

Hassan was amazed at how much he had to unlearn from his

earlier training. It wasn’t so much the moves, but the principles,

ideas, and attitudes.

The days became divided into two main training sessions, so

that each day Nimr trained from four to six hours. Two to two and a

half hours in the morning and the same in the afternoon usuall y from

2:00 to 5:00.

In the morning class, the young Kempoka was taught special Ki

classes that involved cleansing techniques, breathing techniques, and

energy gathering techniques. After those preliminaries Nimr was

taught the movements of the s ystem. This included stances, foot

 - 44 -

patterns, hopping, box patterns, and more patterns of Kosho R yu

Kempo.

Most of all, Mitose emphasized that the young man needed to

relax. From his previous training, he had developed too much tension.

Mitose stressed that internal strength lasts longer than external

strength.

“Always remember,” the Kempo master would say, “a yo ung

tiger fights with external strength, but the old tiger fights with

internal strength.”

Once Nimr had learned the fundamentals, there were many

different things he had to learn about the true s ystem of Kempo. First

of all, there was tool development, balance, and coordination. It was

all directed towards self defense. To Mitose, Kempo was all about

self defense, that was it’s purpose, it’s reason for existence. Yet self

defense was more than just punching and kicking, it was also about

holding a glass, getting up from a table, walking. To teach Nimr all

he wanted him to learn, Mitose required the young man to train seven

days a week, which the youth gratefull y did.

Mitose would take Nimr to visit other martial art schools to

show him what they were doing wrong and what they were doing right.
 - 45 -

He wanted Nimr to learn how to run a good Kempo school. It was

about everything from keeping role, to doing techniques properl y.

Mitose would watch someone do a technique and then ask Nimr

what he thought. Mitose taught that self defense was simple, but one

needed to understand the ‘wh y’ of things.

When a martial artist would do a complex series of movements,

Mitose would ask ‘why’? He always asked, why? To Mitose a student

needed to know why something was done, more so than just how to do

it.

Mitose would take Nimr to ‘chop sock y’ movies to anal yze what

they were watching. Most of the times Mitose would sit and laugh at

the shows, especially at the fights that would go on endlessly, with a

person being hit multiple times.

Mitose would say, “If a master has to hit a person six or seven

times to put them down, there is something wrong with the system.

When a master hits a person with internal strength, that person doesn’t

get up unless the master wants him to.”

Mitose felt that a person should be in tune with nature. There

was a necessit y for the Kempoka to be in touch, that is in harmony

 - 46 -

with God’s complete universe. This is a view he shared with Morihei

Ueshiba.

In order to achieve this harmon y, he and Nimr would practice

outside on grass, sand, and rock to work on balance. They would train

at the beach, where they could feel the flow of nature in the air, the

ocean, and the earth. There Mitose taught the harmony of Kempo to

the young man.

As an instructor, Mitose was demanding, but not brutal. He was

very strict, wanting precision and accuracy of movement. But he was

patient in his instruction and gentle in his demeanor.

Mitose taught that Kempo self defense was about defending

against all threats, not just those of another human being. After all,

what punch or kick would you use to stop a speeding car from hitting

you?

Self defense means knowing how to dodge a car, avoid

something falling from a bookshelf, or be at peace in a violent

situation. It was more than just punching, kicking, and grappling.

To illustrate a different way of dealing with an assault, Mitose

once asked Hassan to punch him as hard as he could and knock him
 - 47 -

down. After a short protest, the young Kempoka prepared to launch

the hardest punch he could.

Just as Nimr was about to strike, Mitose sat down. The young

Kempoka froze, not sure what to do next. Mitose smiled, as if to say,

am I not helpless enough yet, and laid back down on his elbows. Then

he drew his legs back to his new position, slowl y stood up and walked

away.

The Kempoka stood in wonder, not sure what he’d just

witnessed. Mitose turned and came back to the young man and asked

him what he had learned. As Nimr responded with silence, Mitose

spoke.

“Self defense is avoiding, creating distance, and walking away.

Do the unexpected. Use surprise when you can. The unanticipated

creates opening which you can use to avoid the situation all together.”

Mitose emphasized that the actual ph ysical skills of Kempo are

the last resort of the true Kempoka. Even then, when they are used,

they are used in their minimum capacit y. Onl y in war should the most

devastating skills of Kempo be used. In matters of life and death,

when someone would trul y kill you or an innocent.

 - 48 -

In all other situations, the peace art should be used. Techniques

of evasion and avoidance. Techniques of push and pull. Techniques

of restraint, both physicall y and mentally. This is part of the spiritual

training of Kempo.

But it must never be forgotten that James Masayoshi Mitose was

a true master of the complete art of Kempo. He knew and understood

the nature of civilian self defense and the warriors art of combat.

In the same vein as his instructor Seiko Fujita, Mitose broke

down the human body into various s ystems and then taught Nimr how

to attack each one. Mitose’ concept of the centerline extended from

the corner of one eye to the other. Within this span were the most

vulnerable points of the human bod y.

The hands and arms, the feet and legs, were the fort that

protected this vulnerable area. Thus Mitose taught Nimr how to

‘destroy the fort’. A section of this was known as ‘knocking on the

door’. These were techniques, a special series of strikes (Koppo),

which allowed the Kempoka to knock the arms up or down, so that if

necessary a more damaging blow could be delivered against the

Kyusho of the main body.

 - 49 -

Mitose taught that in most cases, the techniques of ‘destroying

the fort’ or ‘knocking on the door’ was all that would be needed in a

self defense situation. Nimr realized that in regard to the real purpose

of moves, he had much to unlearn from his previous studies, and much

to learn from the true Kempo master Mitose.

After his initial period was over, Nimr and the Kempo master

knew it was time to open a Dojo. In January 1974, in the city of Los

Angeles at the location of Fifth and Venice they opened their Dojo,

and with a beginning student base of around a dozen, the Kempo

master formall y came out of retirement. Nimr would teach the earl y

classes, while many times Mitose would come in and teach the

evening classes. This was a time of great jo y for the Kempo master

and his most devoted disciple.

 - 50 -

Chapter Five: Dissemination of Kempo

There have been three very important personages who have kept

the fire of Kempo burning in the world today, especiall y in regard to

the continental United States. In some cases they did so in an unsung

position, while one in particular is well known, along with man y of

his students.

William Chow

Probabl y the most famous of James Masayoshi Mitose’s students

is William Chow. He began training with Mitose shortl y after he

opened the Official Self Defense Club and in 1946, along with;

Thomas Young, Bobby Lowe, Paul Yamaguchi, Arthur Keawe;

William Chow, was awarded Shodan. Once again keep in mind that

this Shodan was not the first degree, the beginners rank, as seen in

modern martial arts s ystems, but the first of three ranks given in the

traditional Menkyo manner, meaning first level.

In 1949 William Chow opened his own school and began

teaching what he called Kempo Karate. It is believed that Mitose

would have told his closest students the true history of his Kempo, so
 - 51 -

that the Okinawan roots would have been acknowledged and well

known by Chow.

Ramon Lono Ancho, who will be discussed later, trained under

Mitose, and later, with Chow. He said that in the ‘old days’ the two

men taught exactl y the same. Too many people emphasize that Chow

was breaking with Mitose when he opened his own school, but this is

far from the truth.

It must be remembered that Mitose had said that he wanted

Kempo Americanized. Kempo, the living martial art, was designed to

adapt to it’s environment and culture. Techniques that had originall y

been developed for fighting armored Samurai, or pirates armed with

swords attacking an Okinawan village, might not have practical use in

modern United States.

However, those same techniques could be used against a person

wearing modern body armor, or armed with a baseball bat, through a

little adaptation. Chow branched out and eventuall y through his own

adaptation, developed a very rich and separate st yle which is today

known as Kara Ho Kempo.

What has helped make William Chow most famous is his

connection to Ed Parker who first brought Kempo to the continental

 - 52 -

United States. When Parker went to college in Utah, he taught his art

there for the first time. Later he moved to California where he began

to teach publicl y and eventuall y began teaching a large group of

movie stars and show business personalities.

It is this that made Parker so famous, and helped spread the

name of Kempo throughout the country. Among those he taught were;

Elvis Presley, Nick Adams, Robert Culp, Blake Edwards, Robert

Wagner, McDonald Carey, Darrin McGavin, Jose Ferrar, George

Hamilton, Warren Beatt y, Rick Jason, Dick Martin, Elke Sommers,

Joey Bishop, Audie Murph y, and there are man y others. Some of

these actors used Kempo in television shows, movies, public

demonstrations, and of course, Elvis was famous for his fight scenes

in his movies and doing impromptu demonstrations during his

concerts, and afterward in receptions held after his shows.

Chow moved from his home in Hawaii to California shortl y

before his death and his s ystem is carried on today b y his chosen

successor.

Chow was also influential to man y Hawaiian martial artists and

significant in the creation of other martial arts. His is a name that

should always be remembered in the history of Kempo.

 - 53 -

Ramon Lono Ancho

A legend to many people in the martial arts is Ramon Lono

Ancho. A trul y exceptional soldier, a true warrior, Ancho fought in

the last days of World War II, in the Korean War, and did six tours in

Vietnam as a member of the special forces. He has earned some of the

highest citations our nation awards it’s heroes.

As a martial artist, his skill was unparalleled. He trained under

Henry Seishiro Okazaki, James Masayoshi Mitose, and William Chow.

He noted that in the ‘old days’, William Chow taught exactl y like

Mitose.

While in the Arm y in 1957, Ancho won an All Arm y Talent

Show demonstrating his martial arts skills, very specifically with a

Kempo technique. This resulted in a year long, good will publicit y

tour. Because of this he appeared on; The Ed Sullivan Show, The Jack

Parr Show, and the Steve Allen Show.

He also appeared in three movies; The Naked and the Dead,

Beachhead, and Get, Set, Go. While filming the movie Beachhead,

Ancho met Tony Curtis and became his martial arts instructor. He

also taught Ricardo Mantalban. Ancho also had the pleasure of being
 - 54 -

bodyguard to Martha Raye, whom he met in Vietnam. He considered

her one of the bravest people he had ever met.

Ramon Lono Ancho was appointed Judo coach and hand to hand

combat instructor to West Point by General William Westmoreland.

Eventuall y he was awarded the rank of Major. In 1977, Ancho retired

from the Arm y, but continued work in special duties, and United

States Embass y securit y.

Until his death in 2003, Ancho lived in Costa Rica where he

continued to work for the United States, being involved with Embass y

securit y and training people for special, clandestine, missions, of

which nothing more can be said at this time.

Ramon Lono Ancho was a Judan, tenth degree black belt, and

Shihanke, master teacher. He sought to preserve both Kodenkan

Jujutsu and Kosho Ryu Kempo. He did this as chief instructor of the

Kodenkan International Martial Arts, Inc. of Costa Rica.

One of the most important aspects of Ancho’s life is that

wherever he went in the service of his country, he taught martial arts.

A lot of this was done on the military bases where he was stationed,

but he would also teach civilians an ywhere he could. Of extreme

importance to coauthor William Durbin was Ancho’s time spent in the

 - 55 -

state of Kentucky. While there Ancho taught on the military base at

Fort Knox and in other locations in Kentuck y.

During that time he taught Richard Stone who was to become

Durbin’s first instructor. Then in 1999, Durbin had the opportunit y to

meet Ramon Lono Ancho personall y. In attending the clinics which

Ancho taught, I validated the teachings I had originall y been taught

under Stone, while through personal discussions and interviews, I

found what was specificall y Kosho Ryu Kempo and what was

Kodenkan Jujutsu.

What Ancho taught, which was most interesting from the Kosho

Ryu Kempo perspective, was what he said specificall y came from

Mitose. After teaching the basic blocks, punches, strikes, and kicks,

Mitose would then teach what Ancho referred to as ‘follow throughs’.

Mitose taught that these follow throughs could be combinations of

strikes, or that the strikes could lead into throws, joint locks, or

chokes. At times blocks could flow into grappling techniques, onl y to

turn back into a strike.

Ancho also taught a special section on Koppo, which he said

also came from Mitose. This shows how thorough Ancho was trained,
 - 56 -

in that onl y one other Mitose trained student that I have met was

aware of the Koppo skills of Kosho R yu Kempo.

Upon seeing the level of skill which Durbin possessed, Ramon

Lono Ancho issued him a Judan certificate with recognition of his

position as Soke of Ki yojute R yu Kempo Bugei.

Ancho had also published two books on the Kodenkan

curriculum, giving an excellent translation of the scrolls of Henry

Seishiro Okazaki. While Ancho’s primary teaching curriculum came

from the scrolls of Okazaki, his combinations and blending techniques

came from the teachings of James Masayoshi Mitose.

Nimr Hassan

Bill Beach, one of the top Jujutsu masters of the Kodenkan

tradition, once said that unless the scrolls of Henry Seishiro Okazaki

are taught, the person claiming to be a Kodenkan teacher is false.

The same can be said of Mitose’s Kosho Ryu Kempo. There are

certain facets of the complete art of the Kempo of Mitose which must

be taught, or it is not trul y of the Kosho R yu branch. This is where

the next instructor is so important to the history of Kosho R yu Kempo.

When Nimr Hassan began training with James Masayoshi

Mitose, he was not just taught the t ypical war art, with the emphasis
 - 57 -

on the combinations of the Okinawan tradition, which man y people

seem to think is the entiret y of Kempo, but he was also taught the

peace art, what Mitose referred to as temple dance and escape

patterns.

Mitose not onl y taught him the ph ysical skills, but also the

necessary knowledge for creating the things he would need to publicl y

teach. Nimr was instructed in the creation of special Makiwara used

for the development of Koppo, the special techniques Mitose had

taught to the Kempoka. While Kosho Ryu Kempo itself did not use

prearranged Kata, Mitose did teach Nimr eight of the most t ypical

Kata of modern Karate, so that he could teach his students how to

battle against those who trained in such a manner.

For the opening of their school, Mitose had two special crests

made up. One for himself and the other for his student. The main

portion of the crest was the traditional symbol of his st yle of Kempo,

with the three hand positions on it, with the covered fist at the top, to

show direct and true transmission. The three plants and an octagon

formed the rest of the seal. Around the edge, so that he could record

the actual arts taught as part of Kosho Ryu Kempo, were the words;

pure Kempo Jujutsu and Karate, What is Self Defense? (this was to
 - 58 -

make those who saw it question their motives and knowledge), and

Kosho Koga Ninjutsu.

The crest was specificall y to be black and white. Black stood

for the forces of nature, while white stood for mankind’s abilit y to

transfer them into useful things for human beings.

Mitose gave the crest to Nimr as a sign of what he considered

true Kempo, as opposed to what was being taught throughout the

United States at that time, which actually encompassed very little of

the ancient Kempo he had studied. Mitose wanted the famil y art,

which he taught, to be preserved in it’s entiret y, focusing on all

aspects of his heritage, both from Japan, hence the terms Jujutsu and

Ninjutsu, as well as, from Okinawa, hence the use of the term Karate.

But Mitose wanted people most of all to understand that it is all

Kempo. That the root of the tree grew strong. While man y branches

had formed and grown into the different st yles of Jujutsu, Ninjutsu,

and Karate, the root itself was alive and vibrant, and to be found in

the complete teachings of Kempo.

In the old days, Mitose taught very traditionall y, using only

three ranks; student, disciple, and teacher. In the teachers division

were many levels. In traditional grading, the student received a

 - 59 -

Kirikami, to acknowledge that this person was a serious student of the

Ryu. The disciple received a Mokuroku, to show that he was learning

the skills of the R yu.

Finall y, the teacher received a Menk yo, license, that bespoke

the level of teaching abilit y possessed b y the recipient. According to

the level of knowledge the student possessed, the title on the Menkyo

professed his teaching capabilit y. Currentl y Nimr awards one of five

titles to his students.

After his experiences with Mitose, Nimr Hassan decided to

return home and share the wondrous knowledge which he had been

given by the Kempo master. He established a base in his birthplace,

Philadelphia, Penns ylvania. There he taught at various locations and

youth centers. Always seeking to share the wisdom, knowledge, and

skill of what is currentl y called Koga Ha Kosho Shorei R yu Kempo.

Today Nimr is trying to fulfill the dream which Mitose began

with him back in 1973. Mitose had plans for Kempo. Plans which

would benefit the largest number of people possible. It is Nimr’s

opinion that Mitose would love to see Kempo taught through academic

avenues.
 - 60 -

When Mitose was in Japan, he witnessed the proliferation of

both Judo and Karate b y entering the academic circles, being taught in

universities and school s ystems. Nimr hopes to open those same doors

in the United States and has for the last several years been involved in

universit y sponsored research projects for the reduction of violence

through the implementation of traditional Kempo training into school

s ystems.

One of his students in North Carolina has been involved in a

program for helping visuall y impaired people improve their lives

through the use of Kempo training. Another student in Canada is

using Kempo to help people recover from addiction.

The potential for Kempo is infinite. Kempo was founded in

antiquit y, not onl y as a means of self defense, but also a means of

enlightenment. When taught properl y, as was the way of James

Masayoshi Mitose, it remains a source of self awareness, self mastery,

and true enlightenment.

Those open to these lessons can learn how to reduce anger,

increase confidence, and grow spiritually into totall y self actualized

human beings. The positive influence of Kempo is limited only b y the

 - 61 -

students desire to grow and the abilit y of the teacher to teach what

Mitose called, true and pure Kempo.

Nimr Hassan has dedicated himself to the preservation,

proliferation, and protection of the true s ystem which he inherited

from James Masayoshi Mitose. It is his hope to share Mitose’s

teachings with people from all branches of Kempo, that they might

know the root. He hopes all martial artists might gain from the

instructions of peace and harmon y which flow from the heart of

Mitose Kempo.

This then is the quest of Nimr Hassan as he shares the fruits of

Mitose’s tradition through Koga Ha Kosho Shorei R yu Kempo from

the cit y of brotherl y love.

 - 62 -

Chapter Six: Kosho Ryu Kempo – The Complete Art

When James Masayoshi Mitose was asked to describe his

complete art in an interview back in the sixties he revealed much more

than just simple blocks, punches, and kicks, or throws, chokes, and

joint locks. He said that the art contained much more than just

combinations of techniques. Mitose revealed that his tradition was a

complete Kempo tradition.

Later, when Mitose taught Nimr Hassan, he revealed an ancient

martial arts connection to the Koga R yu branch of Ninjutsu. It has

been reported that Kempo and Ninjutsu have traditionall y been taught

together, so it is appropriate that they have the same foundation as the

Bugei of the Samurai of Japan. This foundation is in the cosmicall y

complete concept of eight as seen in Japanese thought.

The Octagon: Ninjutsu Roots

Central to the temple dance and escape arts of Kosho Ryu

Kempo is the pattern known as the octagon. This is an important

pattern which has multiple interpretations.

Koga R yu Ninjutsu traditionall y has important mathematical

roots which can be seen in it’s emphasis on certain numerical ideas.

 - 63 -

These ideas were expressed b y Mitose through patterns of movement

called the octagon, square, triangle, and other patterns of movements

based on these mathematical constructs.

This most simple, yet important, concept is at the heart of

Mitose’s peace art. When properl y understood it is also the heart of

the war art as well. Kempo is more than just a set of techniques and

combinations thereof, it is also a complete way of movement, which

deals with all situations.

Mitose would give the example of, which technique will you use

when a runaway car is barreling towards you? Will you kick it? Will

you punch it? Can you block it? Can you throw it? Can you lock it?

If you try you will die. No, the onl y answer is in the octagon and the

advanced concepts of movement. For you can avoid it, you can dodge

it, you can leap out of the way.

In learning the temple dance and escape patterns, a Kempoka

learns skills which are invaluable in survival. It is not just about

combat, but also about life. There are other applications and ideas

that will be dealt with later. For now we need to comprehend the true

totalit y of Kosho R yu Kempo.

Okinawan Techniques
 - 64 -

Mitose use to definitivel y say that his art was not just Okinawan

Karate, yet his use of the Makiwara showed a definite Okinawan

connection. Robert Trias, the great American Karate master, has very

specificall y said that Mitose trained with Choki Motobu. This has

caused a great deal of confusion for those researching the history of

Kempo. But the answer is actuall y very simple.

Seiko Fujita, the Koga R yu Ninjutsu and Namban Satto Ryu

Kempo instructor who taught Mitose, believed in the old Ninjutsu idea

of know your enem y. Nimr Hassan says that Mitose used to take him

around to different martial arts Dojo. They would watch the moves,

take them back and run them through the training pattern of the

octagon, to discover counters to those moves.

Mitose, like Fujita, absorbed anything of value into his Kempo.

The anal yzation of moves was termed Bunkai in the Okinawan

tradition and has found it’s way into many J apanese s ystems.

Fujita had a great respect for the Okinawan martial arts,

personall y stud ying with Choki Motobu himself. Having his students

study Karate and Okinawan Kobujutsu. But with the absorption of the

moves into the prospectus of his Kempo, Fujita would develop those

techniques through the use of the octagon and other patterns of

 - 65 -

training which derive from the fundamental concepts of Japanese

Bugei, that being the foundation of his own Ninjutsu and Kempo.

Mitose carried on this idea and taught it to his students. But

some of the students misunderstood the idea and absorbed so much

from other s ystems, that the core curriculum, so important to actual

mastery of Kosho Ryu Kempo, was either forgotten, or in some cases

never learned.

Thus, while Mitose’s Kosho R yu Kempo was not just an

Okinawan st yle, it contained the teachings of Choki Motobu’s Kempo

Karate, combined with the teachings of J apanese Kempo and Ninjutsu.

Fundamental to this is the concept of complete combat and survival

skills. These were taught through a series of auxiliary arts.

Auxiliary Arts

While it is a fundamental misunderstanding that the sword is the

central martial art of Japanese Bujutsu, the truth is that throughout

history there have been other martial arts that were considered more

important than the sword. In example, the first Samurai considered

the bow shot from horseback, Kyubajutsu, as the most important

martial art.
 - 66 -

Individual R yu also placed more importance on certain skills

over the sword. Man y s ystems emphasized empt y hand fighting skills

and the extension of weaponry from the empt y hand movement. This

is the way of Kosho Ryu Kempo.

The sword though is of primary importance and in Kosho Ryu

Kempo is one of the first of the auxiliary weapons originall y. While

this may not always be so today, Kenjutsu was considered essential in

past times. But once again, the sword was taught from the point of

view of the octagon. This will come back again and again, the

octagon is the basis of everything that is taught.

Kyujutsu, or archery, was also fundamental to the martial arts of

the past. Daikyu, the great long bow, was not always affordable by

the smaller clans or rural warriors, and so many st yles taught the

Hankyu, small bow. Just as Mitose always taught that Kempo needed

to be Americanized, he allowed students to use whatever t ype of bow

was available in his instruction of archery.

Mitose taught two forms of Suieijutsu, combat swimming art,

one of which was very concerned with using water as a method of

training. The other is the combat art of swimming. It is important to

realize that combat techniques do need to be modified when performed

 - 67 -

in the water. Some techniques actually become more lethal when

performed in the water and it is essential that a Kempoka understand

the lethalit y of the art.

One of the first auxiliary arts a Kosho R yu Kempoka will

experience is Hichojutsu. While there are man y interpretations of this

art, in Kosho R yu Kempo the first meaning is leaping art. In the

performance of the octagon, a beginner learns to jump throughout the

pattern. These jumping patterns are essential to dodging, avoidance,

and moving in to apply techniques.

But the Hicho movement is also training in one leg techniques,

which of course include kicking and avoidance of foot sweeps and leg

reaps. The strength which develops in the legs from the leaping

techniques greatl y increases the power of the Kempoka’s kicks. These

one leg techniques have advanced applications as the Kempoka enters

into the depths of Kosho R yu.

A related art to Hichojutsu, also a very important part of

Mitose’s teachings, is Noborijutsu, or the art of climbing. Mitose

emphasized in his interview that climbing was an important part of the

complete art of Kempo. These arts are considered related in that one
 - 68 -

would leap to the lower branches of a tree before climbing.

Something very useful in the rural fighting of ancient Japan.

Finall y, the most important art, the foundation of Kosho Ryu

Kempo, and in truth the basis of all traditional Japanese martial arts,

is Karumijutsu. Literall y, this means the body lightening art.

It is a basic belief from the Buddhist roots that the body and

spirit are intricatel y linked, at least in this phenomenal world. Thus

physical training impacts the body, while spiritual training affects the

ph ysical. Karumi is the sense of a light body which also refers to a

lightness of spirit, a s ymbol of advanced spiritual development.

Karumijutsu is part of what the leaping techniques are all about.

The Hichojutsu training teaches the feeling of lightness while the

bod y adjusts and is light in regard to the strength the legs are

developing. The Noborijutsu training teaching the feeling of lightness

in regard to the strength that the arms are developing.

The whole body is brought to a more physicall y fit level, with

the legs and arms being strengthened, attributes which makes a

Kempoka a stronger and more d ynamic martial artist. Thus these

forms of auxiliary training make all the techniques a Kempoka learn

more efficient and effective.

 - 69 -

This is the part of Kempo which many st yles simpl y do not

possess. This is the true heart of Kosho R yu Kempo as taught b y

Mitose in it’s entirety. It is not just the war art, which he taught when

faced with imminent invasion from the Japanese of the Hawaii Islands

in the 1940s, this is the complete art, war art and peace art, which

contains many more skills than most people dream exist.

This then is the true art of Kosho R yu Kempo.

 - 70 -

Chapter Seven: The Octagon – The Root of the Tree

The foundation and root of Mitose’s Kempo is the Octagon.

According to the New Webster’s Dictionary of the English Language

(1981) the octagon “is a figure with eight sides and eight angles”.

These properties provide the octagon with both utilit y and universal

appeal. Historical and archival information indicate that many

professions and organizations use the octagon for their specific needs

and demands.

• . Mariners- used this figure (octagon) for plotting course

on the open seas.

• Mathematicians- found utilit y in the octagon’s support of

their pursuit to establishing and understanding the height,

width, length, and depth of objects.

• Martial artists use it for the development of students.

• Spiritual and religious persons use it for guidance and

self improvement.

Mitose utilized the octagon to heighten students’ understanding

concerning the differences between their ideas and their habits, and
 - 71 -

the potential dangers of confusing these two concepts. Mitose

considered a person’s ideas and habits a key to understanding how

they reall y functioned in a crisis.

Ideas & Habits

What are ideas and habits and how do they affect our judgment

in a crisis? Ideas are what we believe our actions and responses will

be in a crisis. These mental pictures or plans of action are sometimes

merel y imagined without corresponding realit y. Students’ ideas and

concepts about their actions and behavior in crisis situations often

differ from their actual behavior and habits in crisis. Mitose taught

that ideas were based on vague knowledge and what he called

“preconceived ideas….and misinformation” (Mitose,1981)pg.105. He

taught that the use of preconceived ideas and misinformation could

cause harm and or injury to the student and others.

Habits are students’ real behavior in a crisis. Habits are

addressed in Mitose’s Text Book 1: What is True Self Defense?

(1981). Mitose addressed these issues through the practicing and

mastery of the basic skills and drills. To provide students with a

physical means to understand the differences between their ideas and

 - 72 -

habits, Mitose used both the theoretical octagons and practical

application octagons.

The theoretical and practical octagons are training instruments

that allow students to review and evaluate their behavior(s) in either a

controlled (theoretical) format or a reactionary (practical application)

format. These octagons (theoretical and practical application) provide

students with avoidance and/or escape patterns from physical,

ps ychological, and other aggressions against them.

Theoretical and Practical Octagons:

Theoretical octagons are performed individuall y or in teams.

The survival skills and drills of the theoretical octagons are performed

at comfortable tempos that are controlled by the students. The

theoretical octagon’s tempos progress from slow and methodical to

aerobic and explosive. The students’ level or abilit y determines the

tempo and menu to be practiced. This format allows for development,

review and evaluation of the following skills and drills: (1).

appropriate situational response,(2).hand configurations,(3).foot

placement,(4).breathing,(5).eye training, and (6). head, neck, and

torso relationship.
 - 73 -

Situational Response

Situational Response (SR) is a skill development process that

provides students with a barometer to measure their actions and

govern their responses in crisis situations. The SR process provides

the students with an understanding of the minimum and maximum

effect of the Koga Ha Kosho Shorei R yu Kempo strikes. SR actions

start with light and soft responses and progress to hard and severe

responses when necessary.

Review and Evaluation:

Practical application (PA) octagons are performed with a

partner at crisis speed and irregular tempos with no stoppages. Once

the practical octagon has started there is no stopping for corrections

or errors in judgment by students. This octagon forces the students to

make corrections on the move while under attack. This chapter will

review the physical and mental aspects of the octagon and its usage in

student development.

Preparing for the Octagon:

Two very important components in the development and usage

of the octagon are preparation and caution. Preparation and caution

are important elements to follow when using the Koga Ha Kosho

 - 74 -

Shorei R yu Kempo octagon. The preparation guide for octagon usage

and other advanced Temple Dances can be found in Great Grand

Master Mitose’s book, What is True Self Defense? Text Book No. 1

(1981). This master instructors manual provides guidelines and

patterns, i.e. straight, box, and, zigzag which are prerequisites for

learning and using the octagon with knowledge, perception, and

understanding. The octagon provides an instrumental tool that will

assist students in reviewing and evaluating their approaches and

responses to potential injurious or life threatening situations.

The preparation component in learning the octagon includes the

following prerequisites: stances (natural and front), development of

directional finders (i.e. ear, nose) on the attacker and defender, foot

patterns for attacker and defender, octagon angle identification,

spot/original, breathing, eye training, foot placement, balance, and

movement. Prerequisite patterns give students means, methods, and

opportunities to review and evaluate crisis behavior and habits. This

review and evaluation process assists students in determining if their

behaviors and habits assist or hamper their survival. The prerequisites

are so important that according to Mitose, “Perfection is required”

(Mitose 1981 page 149) in mastering these patterns. He gave the

reason for this by reminding us of the goals of our activities, saying

 - 75 -

“remember you are working for speed, distance, and balance…because

the faster and further you can move out of harm’s way, the safer you

can be” (Mitose 1981 page 141).

The Caution component has two parts: (a). Instructor’s caution

and (b). Student’s caution. There are dangers for both instructors and

students, if the prerequisite patterns are avoided and ‘short cuts’ are

used in order to practice the octagon.

Instructors should never place a student on the octagon that is

ill prepared to use the instrument. An ill prepared student can either

be injured or injure someone else. Mitose addresses the need for

proper preparation when he states, “(the patterns) must be practiced

until they become instinctive” (Mitose 1981).

Students should be cautious in attempting to use the octagon

before they have been instructed and prepared. Using the octagons

before being prepared can cause frustration, disillusion, and

disgruntlement.

Physical

The physical parts of the octagon address hand configuration

and placement, foot placement, movement, balance, eye training,

breathing, head, neck, and torso relationships.

 - 76 -

• Hand configuration and placement instructs the student in

the importance of using the hand to protect the

‘constructive center’, which is the area that lies between

the width of the eyes and extends from the head to the

reproductive s ystem, while misdirection patterns are the

movements that include striking, pushing, pulling, and

blocking.

• Foot placement introduces the student to natural stances-

front, back, side, and one leg- and their relationships in a

crisis situation. The placement of the feet in a crisis can

determine the degree of injury that can occur to aggressor

and defender. To assist the student in developing foot

placement, the patterns of the octagon allow the student

to experience foot placement at crisis speed.

• Movement provides the student with up and down, left

and right, side to side patterns while engaged in a crisis

pace exercise.

• Balance provides the student with confidence and

assurance that in a crisis situation his/her foundation is

 - 77 -

stable and sound. The octagon provides situations for the

student to increase his/her balance in crisis situations.

• Eye training instructs students in recognition and

response to various types of stimuli coming at them from

various angles. Eye training also enhances the students’

understanding of their environment.

• Breathing is important in maintaining stabilit y in

respiratory functions caused by panic and irregular

breathing.

• Head, neck, and torso relationship is taught so as to

reduce injury and increase power.

The mental aspects of the octagon address issues such as; ideas,

habits, change, confidence, and self esteem. The octagon assists

students in separating and understanding the differences between ideas

and habits and how each (idea and habits) can either enhance or

decrease their chances for surviving a crisis.

Ideas are thoughts, conceptions, notions, an impression,

conviction, opinion, or something imagined without corresponding

realit y. The octagon provides the student a platform to determine if

their ideas about themselves and their abilities are real.

 - 78 -

Habits are dispositions or involuntary tendencies to act

constantl y in a certain manner, usuall y acquired by frequent

repetition. The octagon affords students an option to determine if

their crisis habits are an enhancement or a barrier to success. How do

we get the student to make corrections in their ideas and habits? This

is accomplished by having them study and understand the challenge of

Change.

Change is difficult for students, so we use several statements to

assist them in understanding what the octagon is demonstrating to

them. To assist them in this process, the students are introduced to

the following statement: “Change involves carrying out an activit y

against the habit of life.”; “Everyone wants to be right, but no one

stops to consider if their idea of right is right.” “You cannot do

something you do not know, if you keep on doing what you do know.”

Confidence and self esteem are the results of the student’s exposure to

the octagon and its lessons.

There are eight escape and attack angles in the octagon. The

organization and usage of these eight angles in distinct and specific

patterns are reflected in the theoretical and practical application

octagons. To assist the user of the octagon a list of guidelines and

 - 79 -

points of reference have been developed over the centuries. These

guidelines and points of reference are represented in geometrical

angles, numerical, and word formats.

Some examples- using L to mean angle and M to mean

movement: L1 & M1 means Front, L2 & M2 means Back, L3 & M3

means Left, L4 & M4 means Right, L5 & M5 means Left Forward, L6

& M6 means Right Back, L7 & M7 means Left Forward, and L8 & M8

means Right Back.

L2 & M2
Back

L6 & M6 L8 & M8
½ Left Back ½ Right Back

L4 & M4 L3 & M3
Right Original Left

L7 & M7 L5 & M5
½ Right Forward ½ Left Forward
L1 & M1
Front
 - 80 -

This octagon is used on the ground to determine where attacks

are coming from and what escape angle should be used to avoid

stimulus. Remembering these angles when in a crisis situation as a

beginner can be very challenging and confusing. To help reduce

stress and anxiet y in using or remembering these angles in a crisis, the

student is given a directional finder. The directional finder is your

own head. To begin to learn how to use this directional finder you

must stand in your natural or side stance with your head, feet, and

bell y button facing forward. Remember this is onl y a beginning

lesson in using your face as a directing, measuring, and calculating

instrument.
 - 81 -

Backward
Back of Head
Back

Off Back of Head Off Back of Head

½ Left Backward ½ Right Backward

Side Side
Ear Ear
Right Left

Off Eye Off Eye

½ Right Forward Front ½ Left Forward
Nose
Forward

Now that we have reviewed this aspect of the directional finder,

let us see how it will work in two t ypes of theoretical and practical

application octagons. Two t ypes of octagons will be reviewed: the

3/8 and 5/8 octagon patterns. What does 3/8 and 5/8 mean? What are

the lessons in the 3/8 and 5/8 octagons?

The numerator or top number of fraction represents the number

of angles of attack. The denominator or bottom number of the fraction

 - 82 -

represents the octagon pattern. The equation tells the attacker what

angles to attack from. Other aspects and usages of the attacker are to

develop eye training, hand configuration, and head movement for the

defending person. On the 3/8 pattern the defending person is

practicing responding to attacks coming off their eyes and in front of

their nose. In the 5/8 pattern the defending person is practicing

responding to attacks coming off their eye, behind their head, and off

their ears.
 - 83 -

3/8 Pattern

Off Right Eye Off Left Eye

Front
of
Nose
 - 84 -

Photo # 1. Preparation stance. In this

photo both students establish starting
positions. The student on the left is the 3
person or person that will be doing the
attacks. 3 person is stationed on the ½
angle right of the 8 person. The 3 person
has their left foot forward with their right
hand on their right hip. 8 person is standing
in kiba dachi with their hands in the proper
ranking position (Kigan, Kaishu or Hoken)
facing and looking at attacker
 - 85 -

Photo #2 (M1a, L1, 3a). 3 person

delivers a horizontal/straight blow
without (w/o) weapon(s) with right
foot forward and right hand from
the ½ right angle or off the right
eye.
8 person hops straight forward and
away with (w) left foot forward and
arms in preparatory side of head
 - 86 -

Photo #3 (M1b, L1, 3a) 3 persons

actions remain the same as above.
8 person with left foot forward delivers
Tiger Walking Koppo either shoulder
muscle or neck muscle
 - 87 -

Photo# 4 (M1c, L1,3a)3 person is in

preparatory position to attack (w) left
hand and left foot.
8 person s prepares to escape by
hopping back
 - 88 -

(In photos 1-4 the 3

person only delivers a single
blow and remains in a front
stance. The 8 person delivers
two misdirection’s/strikes while
in a front stance.)
Photo# 5 (M1, L2, 21)
3 person delivers a
horizontal/straight strike with
left foot forward and left.
8 person hops back with right
foot forward and hands in body
covering position.
 - 89 -

Photo# 6 (M2a, L1, 2a) 3 person

delivers horizontal or straight strike
(w) left foot forward and left hand.
Attack is from ½ angle right.
8 person hops back right foot
forward and delivers Tiger Running
Koppo to attackers forearm/radius
nerve.
 - 90 -

Photo#7 (M2b, L1, 2a) 3 persons

actions remains the same as above.
8 person has escaped by hopping straight
back and away with right foot forward
and right hand striking ear or neck nerve.
 - 91 -

Photo# 9 (M3, L2) Preparation

Position. 3 person has moved to the
½ angle left on the ‘directional
finder’ (w) left foot forward (w) right
hand on hip.
8 person is in natural stance (w)
hands in appropriate ranking position.
Head and eyes are turned so as to
face attacker.
 - 92 -

Photo# 10 (M3a, L2, 3a) 3 person

delivers a horizontal/straight strike (w)
right Foot forward and right hand from
the ½ left angle.
8 person hops left and away (w) arms in
‘body covering’ and preparatory
position beside the ear, left foot forward.
Head and eyes are facing the attacker
 - 93 -

Photo# 11 (M3b, L2, 3a) 3 persons

actions remains the same as above.
3 persons actions remains the same
as above.
8 person hops left and away (w) left
foot forward and right hand
delivering Tiger Running Koppo to
attacker right neck or shoulder
muscles
 - 94 -

Photo# 12 (M3c, L2, 3a) 3

persons actions remains the same
as above.
8 person has hopped left and
away and pivots to the right. This
places the right foot forward and
left hand delivers Tiger Running
Koppo to neck and shoulder
muscles on the attackers left side.
 - 95 -

Photo# 13 (M4, L1, 3a)

Preparation Position 3 person
prepares to deliver a
horizontal/straight strike (w) left
foot forward and left hand
8 person is in preparatory natural
stance (w) hands in appropriate
ranking position. Head and eyes are
facing attacker.
 - 96 -

Photo# 14 (M4a,L1,2a) 3 person

delivers horizontal/straight strike (w) left
foot forward and left hand from ½ right
forward angle.
8 person hops to the right angle and away
(w) right foot forward and hands in body
covering position near ear.
 - 97 -

Photo# 15 (M4b, L1, 2a) 3

persons actions remains the
same as above.
8 person has hopped right and
away Right foot forward and
delivers a Tiger Running Koppo
to either the bicep muscle or
elbow joint
 - 98 -

Photo# 16 (M5,L3,2a) 3
person is in same position as
last photo. 8 person pivots and
delivers Tiger Running Koppo
to the neck muscles of the
attacker
 - 99 -

Photo# 17 Preparation
Position

3 person in preparatory stance

(w) left forward and right hand
on hip in front angle.
8 person is in natural/side
stance (w) hands in Hoken or
Covered fist
 - 100 -

Photo#18 (M5, L3, 2a). 3 person

delivering a horizontal/straight strike
(w) right foot forward (w) right hand
from the front angle.
8 person has escaped by hopping ½
left angle forward (w) left foot
forward striking (w) right hand Tiger
Running Koppo to Humerus bone
and bicep nerve.
 - 101 -

Photo# 19 (M5b,L3,3a) 3 person

delivering a horizontal/straight
strike (w) right foot forward (w)
right hand from the front angle.
8 person has escaped by hopping ½
left angle forward (w) left foot
forward –pivots to right and
delivers Koppo (w) left hand to
neck muscles on attacker left side.
 - 102 -

Photo# 20 (Preparatory position) 3

person is in preparatory stance (w)
right foot forward and left hand on
hip. Attack is from front angle.
8 person is in natural or side stance
(w) hands in appropriate hand
position.
 - 103 -

Photo#21 M6a,L3,2a) 3 person

delivering a horizontal/straight
strike (w) left foot forward and
left hand, from front angle (nose).
8 person has escaped by hopping
½ angle left backward (w) right
foot forward grabbing (w) left
behind attacker’s fist using Tiger
Running to pull him forward and
off balance.
 - 104 -

Photo# 22 (M6b, L3, 2a) 3 persons

actions remains the same as above.
8 person has escaped by hopping to
½ angle left backward (w) right
foot forward and right hand striking
neck muscles (w) Tiger Walking
Koppo.
- 105 -
- 106 -
- 107 -
 - 108 -

5/8 Pattern

Behind Right Behind Left

Ear/Head Ear/Head

Off Side Off Side

of Ear of Ear

Off Left Eye

 - 109 -

Photo # 1. Preparation
stance. In this photo both
students establish starting
positions. The person on the
right is the 5 person or
person that will be
attacking. % person is
stationed on the ½ angle left
of the 8 person. The 5
person has their left foot
forward with their right
hand on their right hip.
8 person is standing in kiba
dachi (side stance) with
their hands in the proper
ranking position (Kigan,
Kaishu or Hoken) facing the
attacker with head and eyes.
 - 110 -

Photo # 2 (M1a, L1, 3a). 5

person delivers a
horizontal/straight blow
without (w/o) weapon(s)
with right foot forward and
right hand from ½ left angle
or off left eye of Kempo (8
person).
8 person hops straight
backwards and away (w)
left foot forward and hands
in preparatory position of
Grabbing/Monkey.
 - 111 -

Photo # 3 (M1b, L1, 3a). 5

persons action remains the
same as previous photo
8 person with left foot
forward Grabs attacker’s
right arm under and inside
the upper arm with the left
and behind the hand and on
the wrist (w) the right hand.
In this position the 8 person
can either pull the attacker
to the ground with follow
thru or lacerate and tear
under arm flesh.
 - 112 -

Photo # 4 (M2, L1,

Preparatory
Stance).Preparation stance
in this photo both students
establish starting position. 5
person is stationed on the ½
left forward angle of the 8
person. 5 person has their
right foot forward (w) left
hand on left hip.
8 person is standing in kiba
dachi (w) their hands in the
proper ranking position
facing the attacker with
head and eyes.
 - 113 -

Photo # 5 (M2a, L1, 3a).

5 person delivers
horizontal or straight strike
(w) left foot forward and
left hand. Attack is from ½
left angle forward.
8 person has escaped by
hopping straight back and
away with right foot
forward with hands in
preparatory position
Grabbing/Monkey.
 - 114 -

Photo #6 (M2b, L1, 3a) 5

person remains in the same
position as in preceding
photo #5.
8 person with right foot
forward grabs behind the
attackers hand on the wrist
(w) right hand and neck
nerve with left hand.
(Please use foot patterns
from photo # 5)
 - 115 -

Photo #7 (M3, L2, 3a Preparatory) 5

person prepares to delivers an attack
(w) weapon (knife) with left foot
forward and right hand on right hip
(from ½ right angle back off of student
head)
8 person turns head to left and looks
over left shoulder with hands in Hoken
 - 116 -

Photo # 8 (M3a,L2, 3a)

5 person delivers a
horizontal strike or
straight strike (w)
weapon in right hands
(w) right foot forward.
Attack is from ½ right
angle back.
8 persons hops back and
away right and faces left
with left foot forward
and right hand grabbing
behind attackers wrist
(w) Tiger Running. Left
hand is in position to
d li Ti W lki
 - 117 -

Photo#10 (M4, L3, 2a) 5 person

delivers a horizontal strike/
straight strike (w) left foot
forward and left hand (w) weapon
from ½ left angle back.
8 person hops back left and faces
right (w) right foot forward and
grabbing behind attackers wrist
(w) left hand in Tiger running .
Right hand is in position to strike
(w) Tiger Walking Koppo to
bicep nerve just above the elbow.
 - 118 -

Photo #11 ( M5, L4, 3a

Preparatory stance) 5 person
prepares to delivers a
horizontal strike/straight
strike (w) right hand on hip
and left foot forward from left
angle or off left ear.
8 person turns to the left and
looks at the attacker (w)
hands in Hoken
 - 119 -

Photo #12 (M5, L4, 3a) 5

person delivers a horizontal
strike/straight strike (w)
right foot forward and left
hand.
8 person hops ½ left
backwards and away (w)
left foot forward and hands
in Monkey Grabbing
position
 - 120 -

Photo #13 (M5b, L4, 3a) 5

person remains in same
positions as previous
position in photo #12.
8 person hops ½ left
backwards and away and
grabs attackers (Monkey
system) right wrist on the
top (w) right hand and under
bicep muscle (w) left hand.
 - 121 -

Photo #14(M6, L4, 2a

Preparatory
position) 5 person
prepares to deliver a
horizontal strike with
left foot and left hand
from the Left angle.
8 person is in
preparatory natural
stance (w) hands in
appropriate ranking
position. Head and
eyes are facing
attacker.
 - 122 -

Photo #15 (M6a, L4,2a)

5 person delivers
horizontal/straight strike
(w) right foot forward and
right hand from left angle.
8 person hops ½ left
backward (w) left foot
forward and hands in
Monkey Grabbing
position.
 - 123 -

Photo #16 (M6b, L4,

2a) 5 person remains
in same position as
previous position in
photo #15.
8 hops ½ left
backward (w) left foot
forward and hands in
Monkey Grabbing
position. Grabs
persons right wrist and
pulls (w) right hand
and tears soft skin
under arm.
 - 124 -

Photo #17 (M7, L5, 2a)

Preparatory stance. 5
person prepares to delivers a
horizontal/straight strike (w)
left foot forward and left
hand (w) weapon from right
angle.
8 person is in preparatory
natural stance (w) hands in
appropriate ranking
position. Head and eyes are
facing attacker.
 - 125 -

Photo # 18 (M7a,
L5, 2a) 5 person
delivers
horizontal/straight
strike (w) left foot
forward and left
hand (w) weapon
from right angle.
8 person hops ½ left
angle backwards and
away (w) left foot
forward while hands
are in Monkey
Grabbing position
 - 126 -

Photo # 19 (M7b,
L5,3a) 5 person delivers
horizontal/straight strike
(w0 left forward and left
hand (w) weapon from
left angle.
8 person hops ½ left
angle backwards and
away (w) right foot
forward and grabs
attackers left wrist (w)
right hand and strikes
ear nerve (w) left heel
 - 127 -

Photo # 20 (M8, L5,

3a) Preparatory
stance. 5 person
prepares to deliver a
horizontal/straight strike
(w) left foot forward and
left hand
8 person is in
preparatory natural
stance (w) hands in
appropriate ranking
position. Head and eyes
are facing attacker.
 - 128 -

Photo #20 (M8a, L5, 3a) 5

person delivers a
horizontal/strike strike with
left foot forward and left
hand from right angle.
8 person hops ½ right angle
backward and away (w)
right foot forward and hands
in Monkey Grabbing
position.
 - 129 -

Photo # 21 (M8b, L5,

3a) 5 person remains
in same position as in
previous photo
8 person grabs
attackers left wrist (w)
left hand and strikes
bicep nerve (w) right
hand.
 - 130 -

Photo # 22 (M8, L5,

3a) Preparatory
stance. 5 person
prepares to deliver a
horizontal/straight
strike (w) right foot
forward and right hand
8 person is in
preparatory natural
stance (w) hands in
appropriate ranking
position. Head and
eyes are facing
attacker.
 - 131 -

Photo #23 (M8a, L5,

3a) 5 person delivers a
horizontal/strike strike
with right foot forward
and right hand from
right angle.
8 person hops ½ right
angle backward and
away (w) left foot
forward and hands in
Monkey Grabbing
position.
 - 132 -

Photo # 24 (M8b, L5, 3a)

5 person remains in same
position as in previous
photo
8 person grabs attackers
right wrist (w) left hand
and rakes eyes (w) right
hand.
 - 133 -

Photos 5/8

These photos represent the attacks and responses to attacks coming

from five positions: 1. left eye (½ left angle forward), 2. behind left ear (1/2 right

angle backwards), 3. behind right ear (1/2 left angle backwards), 4. off of left

shoulder (left angle), and 5. off right shoulder (right angle)

- 134 -
 - 135 -

The teachers in these photos are Grandmaster Nimr R. Hassan from Philadelphia,
Pennsylvania, and Menkyo Renshi Terry A. Lee from Kansas City , Missouri
 - 136 -

Chapter Eight: What is Self Defense?

Mitose wrote his first book, What is Self Defense? as an

introduction to the philosophy of Kempo, what he considered the true

martial art. This is interpreting Bu as it was intended, ‘to stop

violence’. This was Mitose’s idea and his goal in teaching.

To achieve this goal Mitose wrote in his book and gave in his

teachings, in a subsequent book and in interviews, the philosoph y of

Kosho R yu Kempo. When he wrote his first book, he never wanted to

illustrate the book with pictures of violence, which is with pictures of

the war art.

It must be remembered that Mitose wrote his book in 1947, after

World War II was over. He didn’t want to record the war techniques,

but rather preserve and promote the philosoph y of peace. But the

publisher was insistent that there be martial arts techniques portrayed

in pictures, otherwise, the feeling was that people wouldn’t be

interested in purchasing the volume.

Mitose preserved some of the advanced movements of the

octagon in the pictures, which unless someone is trained in these

techniques, is unrecognizable, while portraying very basic methods

and skills of striking and grappling.

 - 137 -

Mitose felt that teaching the techniques of the war art is

irresponsible unless one teaches the meaning of each move, along with

the legal repercussions and moral responsibilit y that the use of such

skills entails.

Medically and Legally

It is unbelievable that man y practitioners of modern martial

arts, such as Karate, Judo, and other arts, do not teach the meaning of

the skills which their arts teach.

Every move has the potential to do damage to the human body.

While it is possible, under controlled conditions, to perform many

techniques in such a manner that no damage is done, in the heat of

battle there are too many uncertain factors which can lead a person to

injury or even death.

This is one reason the Okinawan masters always taught their

students to avoid conflict if at all possible. Temple Kempo was

always taught as a last resort in the Japanese temples. Thus both of

Mitose’s traditions taught him that he shouldn’t use his skills lightl y.

While control techniques such as arm locks, wrist twists, and

arm wraps, can be used to take a pain compliant person down, under

combat situations when a person will be empowered b y rage or

 - 138 -

adrenaline, the potential for death is extremel y possible. In modern

times, when drugs might be involved, serious injury could occur,

without the attacker realizing how much they’ve been hurt, until fatal

damage has been done.

Throws can bring a person quickl y to the ground, but if the

person doesn’t know how to fall, and takes the fall clumsil y, serious

injury or even death can result. Even when the thrower tries to keep

the opponent from injury, there is no guarantee that they will be able

to.

Today some people brag about their abilit y to knock people out

with so-called safe techniques, but these are always demonstrated

under controlled situations. Sometimes the knockouts occur with two

or three people catching the person who has been knocked out, easing

them to the floor.

Yet in combat on the street, there is no one to catch a falling

adversary. Man y people die in the fall, after a blow has knocked them

out or backward. Some blows on their own can cause life-threatening

injury or even immediate death. This may be caused more by the

intensit y of the assault than by any desire of the defender, but death is

death regardless.
 - 139 -

Mitose taught the potential for death of the war art side of

Kempo, hoping that all his students would understand the need to

avoid violence. Sadly, too many of his students didn’t understand.

Once a Kempoka knows what their skills can do, the injury and

death they can produce, it is hoped they will be more sensitive and

self-controlled. It is hoped they will lead peaceful lives, avoiding

conflict and being positive influences in their communities.

All Kempo instructors should explain what their techniques

would do to an attacker if actuall y used full out. Students should

understand that even the gentlest technique has potential to cause

harm to another person.

Once this is understood, a Kempo instructor should also explain

the legal ramifications to their students. From watching modern

movies and television shows, where a ‘hero’ kills one assailant or

dozens of attackers, and is rewarded by acclaim, adulation, or medals,

many people get the idea that if they have a fight and win, even if

someone dies, there are no negative consequences, but this is far from

the truth.

Kempo teachers should know the law, teach it, and tell stories

regarding situations which warn of the potential mishaps that can

 - 140 -

occur in the area of self defense. Some examples of these misfortunes

are as follows and Kempo instructors should look up more to share

with their students.

Once while a young man was out with his date, a former

girlfriend of a thug, the ex boyfriend and his gang jumped the couple.

The young man had been drinking and was carrying a knife, which he

pulled when confronted. During the altercation, the thug was cut and

as he stepped back he tripped and fell. The fall to the pavement

caused a fatal head injury and he died. The young defender, due to

the fact that a knife was involved and he had been drinking, spent five

years in prison.

Two young men got into a raciall y motivated argument. One

young man attacked the other, who responded with a head butt. The

coroner couldn’t determine whether or not the head butt or the fall to

the sidewalk killed the attacker, but the end result was the same, the

young defender ended up spending a year in jail.

There are many other examples of when a person fought in what

appeared to be self defense onl y to end up spending time in jail or

prison. When possible, fighting should always be avoided. There are

repercussions to any kind of confrontation.

 - 141 -

There are times when altercations are unavoidable. Then a

person must do what they have to do in order to survive or protect an

innocent. The actual physical, bod y contact skills should only be used

to preserve life, well being, and in the defense of one’s country. This

is wh y Mitose referred to them as the war arts.

Morally

According to his own words, James Masayoshi Mitose was

raised as a Buddhist monk. He was taught world philosophy, which

included not onl y the Oriental philosophies of Taoism, Buddhism, and

Japanese Shintoism, but he also studied Greek and Roman philosoph y,

as well as, Christianity.

He was especiall y touched by the words of Buddha and Jesus.

When Mitose taught, he particularl y taught morall y the use of his

Kempo. A person shouldn’t hold back the use of their lethal Kempo

skills because of legal reasons, but should actuall y be motivated

morall y.

To harm another person is morall y abhorrent. A trul y spiritual

person cannot willfull y harm another human being. This is what

Mitose saw as the downfall of the martial arts. Regardless of the level
 - 142 -

of competition, if two martial artists compete, the potential to injure

another human being is present.

Mitose would have seen injuries to people in Judo and Karate

competition back in Japan and more than likel y been reminded b y his

teachers, particularly Fujita, that the danger for lethal results were

present.

It must be remembered that when Choki Motobu fought the

boxer in the ring, the event which made him famous among the

Japanese, the boxer died. With his skills, Motobu injured the boxer in

the ring, but the injury was so severe that the man died on his way

home.

This has been postulated as one of the reasons Mitose didn’t

publicl y acknowledge Choki Motobu as a teacher or use the term

Karate in the explanation of his Kempo back on Hawaii. Being so

spiritual in nature and wanting his art most associated with religious

personages, the public reputation of Choki Motobu didn’t fit in with

his image of the martial arts.

An yway Mitose wanted his students to trul y understand the

consequences of their actions more from a moral point of view than

just from a legal perspective. While Mitose always encouraged his

 - 143 -

students to obey the law of the land, he was more concerned with

observing the law of God.

To Mitose, the law of God was bigger than just the list of one

religion’s beliefs, it was in a universal view of Love as the Way o f

God. This harmonized the beliefs of Buddha and Jesus, something we

will deal with in the next chapter.

One should obey the law, but the motivation for doing so should

come from one’s love and moral fiber, not just from a fear of the

repercussions of the legal s ystem. Due to legalism, innocent people

go to jail, while guilt y people find excuses for doing whatever they

want. We are appalled by guilt y people who can manipulate the law

and through loopholes are never found guilt y of an y of the crimes they

commit.

We should be just as appalled b y the innocent, who not knowing

the s ystem, end up in jail innocentl y. This is wh y it behooves all

citizens to learn about the legal s ystem. It is a form of self defense.

More importantl y, the Kempoka should not want to harm

anyone. There have been many martial artists over the years who

reach a point where they realize that the injuries they caused others
 - 144 -

was not worth the accolades and trophies they earned in those

tournaments.

However, Mitose felt that if students are taught correctl y, they

will not enter into senseless competitions or fights, which do nothing

but harm the spirit of the Kempoka while abusing the martial arts

themselves. Mitose felt that Kempo, or an y true martial art, taught

without a peaceful philosophy, is not a martial art at all.

We must remember that the world Bu literall y means, ‘to stop

violence’, and thus dictates the philosophy of the true martial artist.

To Mitose, Kempo was onl y a true martial art and thus must have the

highest moral standing and peaceful philosophy.

Thus Mitose taught two main phases of Kempo, the war art, with

which most people are familiar, and the peace art, which should form

the foundation of civilian self defense. The main patterns of

movement upon which Kempo is based, can serve as a guide for

civilian self defense.

These same patterns form the basics of the war art, for life and

death combat as well. But it is essential that a Kempoka know both

the peace art, for dealing with harassment and non lethal situations, as
 - 145 -

well as, how to apply the movements to potentiall y harmful situations

thus giving the Kempoka the abilit y to avoid injury.

 - 146 -

Chapter Nine: What is True Self Defense?

Mitose last book, written shortl y before his death, was suppose

to be the first of several volumes outlining what he called, True Self

Defense. Sadl y death stopped the great master from writing future

volumes. But in personal lectures, interviews, and the two books he

was able to write, Mitose preserved his most fundamental beliefs on

the nature of true self defense, which had nothing to do with the

actual fighting skills of Kempo, but with the philosoph y of Kempo,

which can be seen in the higher level of interpreting the very word.

Kempo can be broken down into two words, whose meaning

should be understood by an y true Kempoka. Ken, meaning either fist

or strike in it’s most exoteric interpretation, esotericall y means, ‘a

unified person’.

In the same way that fingers come together to make a fist, so

too the body, mind, and spirit come together to make a complete

human being. This unified human being is the goal of martial arts

training. It was the goal of Mitose’s Kempo training.

Yet that training was based on the Ho, ‘the law’. This law, as

interpreted by Mitose was the law of God, the law of nature, for in
 - 147 -

truth this is the natural law of God. To harmonize with nature is to

harmonize with God.

Spiritually

The first goal of Kempo training is the development of spiritual

awareness. This is not false spiritual awareness, which many people

see as independent of God, but rather a spiritual awareness of one’s

overall connection to God.

The goal of Keiho, Kata training, which Mitose sometimes

referred to as Katachi, was seeking the essence of one’s own spirit.

Once it was possible to feel and know one’s own spirit, it was

necessary to perceive the source of that spirit, which of course was the

creator, that is God.

One of the secrets of Koga R yu Ninjutsu was the use of

mathematics to s ym bolize the deeper secrets of the martial arts and

the spiritual lessons thereof. Mitose used math in his own way to

disguise and interpret both the ph ysical and spiritual nature of Kempo.

The octagon was one of the mathematical s ymbols Mitose used

to disguise much of his Kempo. This has alread y been discussed in

regard to the physical art now let us look at the spiritual side.
 - 148 -

The octagon has eight points around it’s circumference. These

eight points s ymbolize the development of the Kempoka from ph ysical

beginnings to spiritual improvement. But there is secretl y the ninth

point. One who is familiar with the Mon of the Koga R yu notices that

there are nine circles surrounding the center. Mitose used this

concept of the ninth point to represent the highest spiritual qualit y.

In that regard, he used the two most important personages of

religion to stand for his image of ones with the highest spiritual

eminence, Buddha and Jesus.

Buddha and Jesus

According to some of those who were in Mitose’s classes back

in the old Hawaiian days, Mitose would give length y lectures quoting

from both Buddha and Jesus. To those who are exclusivist, or even

antagonistic of other religions, this may be hard to understand, but

Mitose was raised in a climate of religious tolerance.

Mitose saw the teachings of the Buddha and the Christ as

mutuall y supportive. Buddhist compassion and Christian love are two

sides of the same coin. God loves both sides of the Pacific Ocean.

While Mitose was against the Pacific War, he was still aware of his

Japanese heritage, and was very proud of it.

 - 149 -

As an American he was very much a patriot, but he saw the need

of improved Japanese and American relationships. To him, this

improved relationship would occur through a spiritual renaissance.

When both Westerners and Easterners could see that their philosophies

were essentiall y the same, then people would be able to live in peace.

Hawaii was a perfect blend of East and West. It was a melting

pot of people, ideas, and concepts. As he taught an Eastern discipline

to people living in the Western world, he hoped that the ultimate

concept of peace would prevail.

This duel concept was extremel y important to Mitose and even

after becoming an ordained Presbyterian minister, he still felt the

desire to emphasize the harmon y of the teachings of Buddha and the

words of Jesus. A deeper look at the harmony of these two most

spiritual teachers may be in order, to full y comprehend the martial

arts and teachings of James Masayoshi Mitose.

The following comparisons between the words of Buddha and

those of Jesus are similar to those concepts expressed by Mitose in his

teachings. The most important agreement in the teachings of these

great masters is one of love.

 - 150 -

Jesus said, ‘Do unto others as you would have them do unto

you.’ Buddha pronounced the idea, that one should ‘consider others

as if they were you.’

Jesus taught that we should, ‘love our enemies and do well to

those who despise you.’ Buddha agreed, saying that ‘onl y through

love can hatreds ever cease in this world.’ Further Jesus said

‘overcome evil with good’, while Buddha said, ‘overcome wrath with

love.’

No planer truth was taught so openl y by Jesus than, ‘love one

another’, just as the Buddha said ‘infinite love should encompass the

entire world.’

These fundamental truths were of the greatest importance to

James Masayoshi Mitose and the heart of his Kempo. His friendship

with Ueshiba, more than anything else, was based on love. As the

Aikido master was totall y focused on love, so too was Mitose. This

was the true nucleus of the martial arts, according to these great

masters. Each found their perspective from their respective religions,

but both had the abilit y to love and accept beyond their respective

cultures.
 - 151 -

Mitose felt his ability to cross cultures began when he was born

American, but raised Japanese. While his central thought patterns

were primaril y Japanese, his openness was essentiall y American.

From his religious foundations in both Buddha and Jesus, he

found wisdom the essential trait of the true martial artist. Trul y

Mitose didn’t distinguish between a monk and a warrior. To the great

Kemposai, martial arts priest, a true martial artist was half monk and

half warrior.

Essential to a Kempoka was the wisdom that was part and parcel

of the religious life. ‘Jesus knew the heart of people, and needed no

one to testify about others, for he knew what was in everyone.’ It is

said of the Buddha that he was ‘an expert in discerning the thoughts

and actions of living beings.’

Discernment is necessary in all fighting skills, for to be fooled

by a person seeking your life is possibl y to loose it. While

discernment is necessary in life, so that you know what to do in each

situation. It can easil y be seen how this would benefit both the

religious life, as well as, one’s self defense.

Man y people wonder, how can a martial artist know what to do

in a given situation and the answer is through the abilit y of

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discernment, more of a spiritual capacity, rather than a developable

martial arts capability. This is something that Mitose understood, but

unfortunatel y many of his students did not. Ramon Lono Ancho said

that Mitose was definitel y a spiritual person who taught his students

to seek the true spiritual gifts of compassion, kindness, and love.

Most of all, Mitose didn’t judge people by their race,

nationalit y, or other ideology, but by what was in their hearts. Jesus

taught that a ‘good person does good, out of the goodness of their

hearts’, but warned that we must not judge, but onl y ‘he who is

without sin is capable of throwing the first stone’ in judgment of

another. Buddha warned, ‘do not look at other’s faults, what they do

or don’t do, but rather observe what you have done or not done’.

Mitose taught people of all walks of life, cultures, and

religions. He felt that his students should learn the love and

camaraderie of Kempo that was based on the love of God. Kempo was

suppose to make his students, regardless of culture, one family. This

was a lesson that Ancho in particular learned and passed on to his

students.

The trul y dedicated students of Mitose learned well that their

martial arts flows from their faith in God. However, the correct
 - 153 -

understanding of God is necessary and this is something that Mitose

had, which many instructors, even those who trained with him, did

not.

God

God is not restricted by human emotions or behavior. As the

Bible says, ‘God is love’. This is something that Mitose reall y

understood and taught his students.

But this understanding of a loving God also dictates an

understanding of what it means to believe in and live like one who

follows a loving God.

Mitose understood that God loved all the people he knew. His

friends and famil y in Japan. His friends and famil y in America. God

didn’t pick people of one country to love and hate all others. Just as

Mitose could love people in both Japan and America, it was obvious to

his heart that God loved people in all lands.

The loving nature of the Hawaiian people fueled his natural love

and helped him develop a greater appreciation of love as it developed

in other cultures.

When he taught Kempo, Mitose did so as a way of preserving

the unique, loving culture of the Hawaiian islands. Remember, in

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1942, the people reall y expected an invasion at an ytime. Mitose

wanted to protect his home, especiall y since he didn’t reall y believe in

the war being waged by the Japanese military powers.

After the war, Mitose wanted to teach the higher levels of

Kempo, which avoided violence if at all possible. He wanted to teach

methods that would help people follow a loving God.

This advanced Kempo, was one with no bod y contact. It was

based on advanced principles of dodging and avoidance. This was a

martial art that a priest could practice, an art that one who trul y

wanted to defend themselves with love could use.

Mitose’s peace art of Kempo does not deny the war art of

Kempo, but emphasizes the fact that civilians in self defense

situations are not empowered by their countries to use lethal skills

unnecessaril y. The peace art of Kempo, based on the special octagon

of movement, was trul y an art that allowed the full love of God to b e

shown in one’s defense.

There is one more esoterica that Mitose would have used to

illustrate spiritual development. Onl y those to whom he revealed the

fullest extent of his philosoph y would have known this final piece of

esoterica.
 - 155 -

Look at the Mon, coat of arms, of the Koga R yu, and while you

will notice that there are nine circles around the center, there is a

tenth circle, the one in the middle. Ten represents the highest, most

complete, the perfect principle. This represents in an esoteric fashion,

God.

Note that in that central circle, larger than the others, is the

Kanji ‘Ko’. With the tenth meaning perfect, those not mindful of God

could say that it was just a reference to human development. But ‘Ko’

can also mean, ‘the highest’, and can be used in a religious, esoteric

manner to mean God.

Many people say that we should seek what Mitose sought, and

that is true. But what Mitose sought through his Kempo training was

a closer relationship with God. By his beliefs in Buddha and Jesus,

Mitose sought to direct his life in a more spiritual way. Kempo when

taught like Mitose taught it, is about spiritual growth and

development. Since the earl y years in Hawaii to his final days of

teaching, Mitose wanted more than an ything else for his students to

learn to walk with God.

Seek what Mitose sought, seek to walk with God through your

practice of Kempo.
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ABOUT THE AUTHORS

GRANDMASTER/HANSHI
NIMR R. HASSAN
KOGA HA KOSHO SHOREI RYU KEMPO

SOKE
WILLIAM DURBIN
KIYOJUTE RYU KEMPO BUGEI
 - 157 -

GRANDMASTER/HANSHI
NIMR R. HASSAN
KOGA HA KOSHO SHOREI RYU KEMPO
.
Menkyo Hanshi Hassan, since his study with Great Grand Master Mitose,
opened a school in Philadelphia, Pa., and has been invited and inducted into several
martial arts and community organizations. The aim of his work is to change the
community’s knowledge, perception and understanding of the Martial Arts and their
contribution to the community. Some of those organizations and achievements are:
World Head of Family Sokeship Council, Hawaii Martial Art International Society,
Latin America Grandmasters and Soke Council, and the United States Martial Artist
Association.

Menkyo Hanshi Hassan developed and implemented a project to reduce

violent behavior among African American Youth in a Philadelphia Middle School
using traditional martial arts (Koga Ha Kosho Shorei Ryu Kempo). This research
project was done in conjunction with Thomas Jefferson University Hospital’s
Department of Psychiatry, The School District of Philadelphia and Wagner Middle
School. A report containing the results of the research can be found in
ADOLESCENCE, Vol.36, No. 143, Fall, 2001.

Menkyo Hanshi Hassan completed a five year research project with the
University of Pennsylvania’s Graduate School of Education (W.E.B. Dubois
Collective Research Center), Columbia University, and The University of North
Carolina at Chapel Hill. The results of the research can be found in the book
‘PLAYING WITH ANGER –Teaching Coping skills to African American Boys
through Athletics and Culture, Ed. by Howard C. Stevenson Jr. 2003.

In 2005 Menkyo Hanshi Hassan received his Master’s Degree in Human

Services from Lincoln University, Pa. He also received the Master of Human
Services Programs Lifelong Learning Award.

For more information visit our website www.kogahakempo.com

 - 158 -

SOKE
WILLIAM DURBIN
KIYOJUTE RYU KEMPO BUGEI

William Durbin was born in 1953 in Bardstown, Kentucky, to

William Paul Durbin Sr. and Harvie Haynes Durbin. He has been training in the
martial arts since 1970, beginning as a student of Richard Stone. (Stone was a
student of Ramon Lono Ancho, who was a personal student of James Masayoshi
Mitose.)

Durbin attended Campbellsville College from 1971 to 1975. He was ordained

a Baptist minister in 1975 and has pastored a church, been a music minister and a
youth minister, and is currently the chaplain at Stewart Home School.

In 1978 he became a member of Juko Kai Kokusai Remmei, a major martial

arts organization headed by Dr. Rod Sacharnoski, and eventually trained directly
with Sacharnoski. Also in 1978 he began training with Bill “Super foot” Wallace.
While the co-author has worked out with many martial artists over the years,.Stone,
Wallace, and Sacharnoski are the ones he considers his true instructors.

Prior to his death, Ramon Lono Ancho issued the author personal recognition
of his position as soke of kiyojute ryu kempo bugei. He was awarded a shihan
(master) license from Hon. Nimr R. Hassan, the last personal student (master
instructor) of James Masayoshi Mitose. Durbin also has a black belt in Bujinkan
Togakure ryu from Masaaki Hatsumi, under the auspices of John Willison and
Sacharnoski.

The co-author also has shihan grading in kempo, karate, toide, jujutsu,
aikijujutsu, kobujutsu, and ninjutsu. This variety is in consideration of the ancient
practice of sogo bujutsu (total martial arts mastery), which was the original way of
practicing martial arts before the split into sport forms, which began in the late 19th
and early 20th centuries. He is also a licensed master teacher of tai chi ch’uan and
teaches the art to senior citizens at various locations, as well as part of the program at
his school, the Christian Martial Arts Association.

Durbin has taught wherever he lived and wherever has been invited to teach.
His main desire is to share the loving Spirit of God with as many people as possible
through the martial arts he so passionately practices. In that regard he seeks to
publish books dealing with the various aspects of the martial arts he has studied and
is even writing a martial arts novel.
 - 159 -

The co-author lives in Frankfort, Kentucky, with his wife, Carol, who assists
him in teaching the martial arts program at the Christian Martial Arts Association.
As a minister he continues to teach people about God and is a songwriter, singer, and
guitar player. He teaches martial arts fulltime along with his work as chaplain. His
Web site is www.kiyojuteryu.org
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