See alsoKajukenbo; Karate, Japanese; Karate, Okinawan
References
Corcoran, John, and Emil Farkas, ed. 1983. Martial Arts: Traditions,
History, People.New York: Gallery Books.
Durbin, William. 1997. “Kempô: The Source.” Inside Karate18, no. 10
(October): 70–74.
———. 1993. “Rough and Tumble: The Throwing Techniques of Kempô
Karate.” Karate Kung Fu Illustrated 24, no. 6 (December): 50–53.
Friday, Karl, with Seki Humitake. 1997. Legacies of the Sword: The
Kashima-Shinryû and Samurai Martial Culture.Honolulu: University of
Hawai’i Press.
Hallender, Jane. 1992. “James Mitose’s Untold Story: Son of the Late
Kempô Master Reveals Startling Details about His Father’s Crimes.”
Black Belt30, no. 11 (November): 18–22.
Kirby, George. 1983.Jujitsu: Basic Techniques of the Gentle Art.Burbank,
CA: Ohara.
La Tourrette, John. 1981. Secrets of Kenpô Karate.Boise, ID: Warrior
Publications.
Longo, David, and Jose Paman. 1994. “The Japanese Origin of Modern
Kempô: Discovered at Last! The Mitose Family Temple.” Inside Karate
15, no. 1 (January): 16–21.
Mitose, James M. 1953. What Is Self Defense? (Kenpô Jiu-jitsu). Sacra-
mento, CA: Kosho-Shôrei Publishing.
Motobu, Chôki. 1926. Ryukyu Kempô Karate-jutsu. Kumite(The
Okinawan boxing art of karate-jutsu. Sparring techniques). Available as
Okinawa Kempô: Karate-Jutsu on Kumite.Olathe, KS: Ryukyu Imports.
Noble, Graham. 1985. “Master Choki Motobu: A Real Fighter.” Fighting
Arts International. ca. 1985. The original text appears at http://
http://www.dragon-tsunami.org/Dtimes/Pages/articlec.htm; an updated version
appears at http://ejmas.com/jcs/jcsart_noble1_0200.htm.
Persons, Michael. 1982. Sam Pai Kenpô.Hollywood, CA: Unique
Publications.
Ratti, Oscar, and Adele Westbrook, eds. 1973. Secrets of the Samurai: The
Martial Arts of Feudal Japan.Rutland, VT: Charles E. Tuttle.
Vandehey, Tim. 1990. “The Tracy Kenpô System: Black Belts to Green-
backs.” Black Belt28, no. 1 (January): 32–36.
Wedlake, Lee, Jr. 1993. “Kenpô, Kenpô Everywhere.” Inside Kung-Fu20,
no. 11 (November): 60–65.Ki/Qi
Ki is an essential psychobiological force, which may be cultivated by and
utilized in the practice of the martial arts. Throughout history, the goals of
martial artists have varied between victory in combat and self-cultivation
and enlightenment. One of the major theoretical assumptions of the tradi-
tional martial arts in China and Japan is an animatistic concept of imper-
sonal power known as qi(ch’i) in Chinese or kiin Japanese. Most often de-
scribed as a bioelectric life force or psychophysical energy, qi is also
commonly referred to as vital breath, subtle energy, and directed intention.
Qi is thought to circulate through all living things, and even though it is260 Ki/Qi