Kenpo History and Lineage
Kenpo History and Lineage
Mid 1700s
Peichin Takahara
Shuri-te
(Okinawan and southern Chinese blend of methods)
Kusanku
Ch'uan Fa
(Southern Chinese methods)
Kaganosuke Takenouchi
(10th generation)
Takenouchi-ryu Jujustsu
(Japanese methods)
Kanga Sakugawa
To-de (blend of methods)
Masatsugu Takenouchi
Takenouchi-ryu Jujustsu
(Japanese methods)
Early 1800s
Sokon Matsumura
Shuri-te
Masanori Takenouchi
Takenouchi-ryu Jujustsu
Mid 1800s
Anko Itosu
Shuri-te
Masanori Takenouchi
Takenouchi-ryu Jujustsu
Late 1800s
Kenwa Mabuni
Shito-ryu Karate
Gichin Funakoshi
Shotokan Karate
Choki Motobu
Motobu-ryu Kenpo
Toichiro Takenouchi
Takenouchi-ryu Jujustsu
Early 1900s
Masayoshi "James" Mitose
Kosho Shorei-ryu Kenpo
(Actual lineage, and connection to Motobu or Takenouchi, if any, is unknown, but Mitose's art has Japanese roots and structure similar to Takenouchi-ryu jujutsu.)
Mid 1900s
Thomas Young
Kosho Shorei-ryu Kenpo
William K.S. Chow
Kenpo Karate/
Kara-Ho Kempo
Mid 1900s
Adriano Emperado
Kajukenbo
Ed Parker
Ed Parker's American Kenpo (EPAK)
Ralph Castro
Shaolin Kenpo Karate
Late 1900s
Chuck Sullivan
EPAK
Huk Planas
EPAK
Kevin Lamkin
Elite Fighers System
Al Tracy
Tracy's Kenpo Karate
Jeff Speakman
Kenpo 5.0
Early 2000s
Geoff Johnson
Geoff Johnson's American Kenpo (GJAK)
Within any given generation, many of the martial artists pictured above cross-trained with one another and with others not shown, and each martial artist above had multiple teachers, thus making it too cumbersome to depict all lineages on one page. I have chosen here to feature some Okinawan history as that is where I find much inspiration.
In Japan, the term kenpo means fist law and has a long history, being used generically in reference to unarmed fighting methods, be it Chinese boxing (ch'uan fa ["chwen-fah"]) or Japanese jujutsu. Masayoshi "James" Mitose (James Mitose - Wikipedia) was said to have learned the Japanese art called Kosho Shorei-ryu passed down to him from his mother's family. There is no historical record beyond Mitose's recollection, but this family art (whether it was named specifically as jujutsu or kenpo, or described generically as kenpo) was structurally similar to Takenouchi-ryu jujutsu (i.e., absorbing, redirecting, and exploiting the opponent’s momentum, with minor strikes used tactically to set up throws, joint locks, pins, and chokes).
Earlier in Okinawa, Choki Motobu developed a curriculum of short, powerful tactile exchanges – a striking art resembling Matsumura's shuri-te and southern Chinese boxing, and distinct from the emerging karate styles of the time which emphasized many long, formal kata (Motobu Chōki - Wikipedia, Motobu Choki Kumite Drills, Motobu history). To highlight this distinction, Motobu referred to his striking system as Motobu-ryu Kenpo, rather than Motobu-ryu Karate.
Years later, William K.S. Chow was introduced to southern Chinese boxing by his father at an early age before studying Kosho Shorei‑ryu under James Mitose. Chow blended these influences into his own early system of kenpo, creating a hybrid art that departed sharply from Japanese jujutsu. Chow's early system, like Parker's, demonstrated short, explosive techniques — most with just 2–3 beats — that closely resembled Motobu’s close‑range fighting method. These types of exchanges became the foundation of Parker’s colored-belt base techniques. Later, both Chow's (www.karaho.com) and Parker's systems evolved to have longer, multi‑step self‑defense techniques with numerous forms and sets. Some of the material — especially in public demonstrations — took on a theatrical, performance‑oriented character (Chinese Kara-Ho Kempo Karate, William K.S. Chow, Ed Parker Demo). This trend continued in the systems of Adriano Emperado, Ralph Castro, and the Tracy brothers.
Based on the practical elements of Ed Parker's American Kenpo, and inspired by the kenpo developed in Okinawa by Motobu and the shuri-te that came before it, the aim of my system is to return to a brief curriculum of short, modern, immediately applicable self-defense techniques utilizing powerful strikes.
At times, Chow, Parker, Castro, Tracy, and even Motobu each respectively referred to their systems as versions of "Kenpo/Kempo Karate," not simply "Kenpo," presumably for marketing purposes since the word karate was much more widely known. (Admittedly, I have included the word "karate" in the url of my webpages for this same reason.) However, "Kenpo Karate" is akin to "Ch'uan Fa Kung Fu" or "Kung fu Wushu." Chow and Parker did eventually drop the word "Karate" from the official names of their systems.
Some of the connections in the lineage above may be indirect, that is, there may be missing branches or descendants. For instance, there may be additional connections between Mitose and Motobu. If you are aware of any missing branches, or of inaccuracies in the practitioner names or their arts, please let me know!
Copyright 2020 Geoff Johnson. Any unauthorized reproduction or duplication of this website or its material, including pictures and logos, is strictly prohibited without permission. Contact Geoff Johnson's American Kenpo at KenpoGeoff@hotmail.com