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Tora Dojo is an eclectic system, in which the student begins his training with Japanese karate techniques. Elements from Okinawan and Korean systems are also introduced before the black belt level. After black belt, the system becomes a Chinese system. Tai chi, Pa Kwa, White Crane and other Chinese systems are learned.

Tora Dojo is a classical martial arts system, emphasizing breathing and meditation in addition to the physical training. Tora Dojo focuses and channels a person’s energy to help him or her achieve the centeredness that is necessary to handle blows, both internal and external, as they come in.

Meaning of the name: Tora is the Japanese word for “tiger”. The word Dojo means “school of martial arts,” or “gates of learning”.

The name is also indicative of the system’s Jewish orientation (as in Torah). Tora Dojo incorporates Jewish philosophical concepts within its system.This is exemplified by the following quote by Benjamin Andron, a second-degree black belt who runs Tora Dojo West in Los Angeles:

The moves are combative by nature. But while we might be fighting anti-Semitism or an enemy, we are also fighting the things that are holding us back, the veils that hide the divine spark within us. Andron begins his class with guided meditation which is grounded in kabalistic methods. Andron says it also helps him achieve a higher level of kavanah (concentration) during his daily prayers.

Tora Dojo was established in New York City in 1967 by Grand Master Prof. Harvey (Chaim) Sober of yeshiva University. Tora Dojo is an eclectic system, in which the student begins his training with Japanese karate techniques. Elements from Okinawan and Korean systems are also introduced before the black belt level. After black belt, the system becomes a Chinese system. Tai chi. pa kwa, white crane and other Chinese systems are learned. Tora Dojo is a classical martial arts system, emphasizing breathing and meditation in addition to the physical training.

Classes are taught In the US (New York, New Jersey, Miami, Los Angeles) and in Israel. Tora Dojo has been taught in Israel since 1982. Today we have over 10 locations in Israel teaching Karate and Tai Chi. Prof. Sober visits Israel one or two times every year, and leads intensive training seminars for all of the students of Tora Dojo. In addition, Herman Kauz, one of the top students of Cheng Man-Ch’ing (who brought Tai Chi to the US in the 1960s), visits Israel yearly and leads a Tai Chi seminar focusing on “pushing hands.” Although organized for Tora Dojo, this seminar is open to practitioners from other Tai Chi systems.

Every other year Tora Dojo performs an exhibition open to the public, in which advanced kata, fighting, weapons and stone breaking are demonstrated. This year, an exhibition will be held in January in Jerusalem.

“Martial Arts” is a collective term for various fighting arts that were developed in the Far East over the course of more than a thousand years. Practicing martial arts strengthens both body and mind, develops self-confidence and provides self-defense skills. Tora Dojo is an eclectic system in which the student begins by studying Japanese karate, later advancing to learn Chinese kung fu. In addition to fighting skills, Tora Dojo emphasizes the artistic and meditative aspects of the martial arts.

Tora Dojo was founded in New York by Prof. H.I. Sober (10th dan) in 1967. Since 1983 Tora Dojo has been taught in Israel. Classes are located throughout the greater Jerusalem area as well as in Tel Aviv and the North. Karate, tai-chi (an ancient Chinese form of moving meditation) and self-defense are taught in separate classes. Our Israeli instructors are black belts accredited by the U.S. Tora Dojo Martial Arts Association. They are also accredited Wingate Sports Academy martial arts instructors.

Karate (“the art of the empty hand”) is a fighting art that uses bare hands and feet, though weapon use is also part of the training. The origins of Karate began when first the Chinese and later the Japanese occupied the island of Okinawa, and forbade the use of weapons. The Okinawans developed both empty hand fighting and the use of farming implements as weapons. This style of fighting was also influenced by similar Chinese techniques which originated from those practiced at the Shaolin temple by Buddhist monks. The founder of modern Karate, the Japanese Funakoshi Gichin (1869–1957), tried to unite between the diverse Okinawan styles, and spread them throughout Japan.

Tai Chi Chuan (”grand ultimate fist”) is a soft style martial art that developed in China. Its foundation is credited to the Taoist Chang San Feng more than 800 years ago. It consists of slow, connected movements that are practiced as a form of moving meditation. Its practice reduces tension, slows down the breath, clears the mind and produces long-term benefits to health. A strong emphasis is placed on the circulation of “chi” (life force or vital energy). Physically, students learn to yield so that the attacker is overcome by his own force. It is not ordinarily regarded as a practical self-defense system, though the movements have self-defense applications and practitioners can achieve great power in their techniques.

There are many benefits from studying Tora Dojo which will extend into one’s everyday life. These include:

Karate / Kung Fu:

• Fitness, strength, flexibility and mobility
• Confidence and assertiveness
• Self-discipline
• Concentration and self-control
• Sense of well-being
• Honesty, integrity and humility
• Stress reduction
• Sociability and courtesy

Tai Chi:

• Enhances the ability to maintain an inner calm
• Enhances motivation and performance in work, social and home life
• Increases physical flexibility
• Increases quality of life through the “inner calmness” approach to difficult situations.
• Works towards a healthy mind and body, which can slow down the aging process
• Reduces stress and tension
• Develops deep concentration and mental focus

His prior organizations, the Shadows of Iga Ninja Society, and the Nine Gates Institute, relied more on the Bujinkan’s methods of instruction. To-Shin Do was founded with the aim of blending classical martial arts techniques taught with more modern educational methods and techniques.

To-Shin Do was founded in 1996 as the curriculum for the HGI Quest Centers, a corporation founded by Shihan Hayes, along with business developer Bill Poett and Joseph Koenig. A couple of years later, Poett’s role in the corporation decreased, and the business was renamed SKH Quest, Inc.

In 2003, Tom Maienza took over the business development role, and SKH Quest began to offer distance learning systems via DVD, along with the original concept of Quest Center martial arts franchises.

Along with the To-Shin Do goshin taijutsu modern self defense, SKH Quest has started issuing classical rank cert in To-Shin Do Kasumi-An classical warrior arts training.

An-shu Stephen K. Hayes’ To-Shin Do martial arts training leads to the ability to live life fully, fearlessly, and freely. Ours is a thorough system of personal preparation for facing the kinds of conflict and opposition that can surprise us in the course of daily life.

To-Shin Do techniques are based on an ancient and well-tested system of warrior disciplines handed down by nine historical Japanese family lineages.

At the same time, our training program is built around a very modern approach to handling the kind of threats and confrontations most likely in our own contemporary culture.

To-Shin Do is a reality-based system that includes techniques and strategies for dealing with:

• grappling, throwing, choking, and joint-locking
• striking, kicking, and punching
• stick, blade, cord, and projectile weapons
• successfully handling multiple assailants and surprise attacks
• overcoming psychological intimidation or bullying

Beyond the basic training that leads to Black Belt license in To-Shin Do is a collection of optional advanced courses including:

• methods for survival in hostile environments
• security protection for dignitaries
• how to instruct classes and run a school
• classical Japanese weapons
• meditation mind science yoga

Lineage: To-Shin Do encompasses the nine schools that are part of the Bujinkan organization:

• Togakure Ryu
• Koto Ryu
• Gyokko Ryu
• Kukishinden Ryu
• Takagi Yoshin Ryu
• Shinden Fudo Ryu
• Gyokushin Ryu
• Gikan Ryu
• Kumogakure Ryu

Ranks: To-Shin Do has a number of different belt ranks corresponding roughly to the former Marishi-Kai belt system above the rank of black belt, with a new, more differentiated ranking system below the rank of black belt. Ranks are based on the go-dai elemental system, historically used as a counting system in Japan.

Earth (Chi):

• White
• Yellow
• Yellow/black stripe

Water (Sui)

• Blue/white stripe
• Blue
• Blue/black stripe

Fire (Ka)

• Red/white stipe
• Red
• Red/black stripe

Wind (Fu)

• Green/white stripe
• Green
• Green/black stripe

Void (Ku)

• Brown/white stripe
• Brown
• Brown/black stripe

Black Belt Ranks:

• Black – shodan 1st degree student
• Black – nidan 2nd degree student
• Black/red stripe – sandan 3rd degree student
• Black/red stripe – yondan 4th degree student
• Black/silver stripe – godan 5th degree student
• Black/silver stripe – rokudan 6th degree student
• Black/bronze stripe – nanadan 7th degree student
• Black/bronze stripe – hachidan 8th degree student
• Black/gold stripe – kyudan 9th degree student
• Gold – judan 10th degree student

To-Shin Do History: Stephen K. Hayes’ To-Shin Do martial art was born of the historical legacy behind 3 important roots of Japan’s ancient cultural heritage:

To – the sword: From the nin-po combat methods of the legendary ninja phantom warriors born of Mt. Togakure and cultivated in the wooded mountains and marshes of Iga comes the core of our physical protection techniques and strategies. To-Shin Do martial arts practice is a great way to reduce stress and increase strength, endurance, and flexibility, while fostering a sense of peace, security, and control in life.

Shin – the focused spirit of intention: From the rigorous kuji intention-channeling training of the shugenja of Mt. Yoshino comes the essence of our program for the discovery and development of the nine key qualities that characterize a fully actualized human being. We can achieve a more focused and disciplined understanding of the cause and effect dynamics that lead to success and fulfillment in life.

Do – the path to mastery: From the originally Himalayan esoteric mikkyo vajrayana mind and spirit sciences of Mt. Hiei comes the technique of cultivating our unlimited physical, mental, emotional, and spiritual potentials. We can learn skillful ways to transform the inner and outer challenges of life into success, and ultimately come to grips with the question of how to experience directly the significance of life itself.

Nin – Important Symbolism Behind The To-Shin Name: The Japanese written character for nin , of Japan’s ninja stealth warriors and their martial art of ninjutsu, can also be pronounced shinobi . It is best translated as “stealth, endurance, perseverance, or ‘putting-up-with’”. Nin or shinobi communicates the kind of strength required to keep our eyes on the grander goal. We know what we need and we are willing to do whatever it takes to get it. We are not diverted, even when tempted to take on the petty affronts and insults tossed in our path from those who fear or envy us.

• The top portion of the Japanese letter character for nin is pronounced toh and means “sword” or “blade edge.” This represents the martial arts technology we study to perfect.
• The bottom portion of the character is shin, pronounced sheen, and means “heart”. This represents the resolute spirit needed to prevail over the negative forces that attempt to drive us to defeat.

Together as the one single character for nin, the To-Shin ideal reminds us of the miraculous power of knowledge and intention combined to result in spirited intelligence in action.

To understand Shingitai Jujitsu and its role in the world of self-defense or “martial arts”, one must look at some historical developments which led to its development.

John Saylor, in the 1980′s, was the Head Judo Coach at the United States Olympic Training Center in Colorado Springs, Colorado. He arrived at this prestigious position in 1983 by virtue of his success as an athlete in competitive judo. Saylor had won the U.S. Heavyweight Championship three times and was a Pan American silver medalist.

He had recently retired from the sport of judo after a serious shoulder injury sustained in the 1982 U.S. Judo National Championships.

During his tenure as coach of the Olympic Training Center, John Saylor was exposed to some of the best judo technicians in the world. The leading judo teams from Asia, Europe and the Americas visited the Olympic Training Center regularly and John Saylor wasted no effort in observing their training methods and discussing judo technique with the world’s top judo athletes and coaches. Not only did he work with the top judo people, Saylor worked closely with some of the top strength and conditioning coaches in the world who coached and did research at the Olympic Research Center or were visiting form other nations.

John Saylor built on his already considerable strong base of grappling knowledge by this experience at the Olympic Training Center. He served as the coach from 1983 until 1991. However, before he left his position at the Olympic Training Center, Saylor began a more thorough and extensive study of “martial arts”.

By 1987, Saylor had already opened his own private training center where he evolved the core philosophies and techniques of what he later came to call “Shingitai”. One of John Saylor’s early Judo instructors, Yoshisada Yonezuka, emphasized the philosophy of shin (mind), gi (technique) and tai (body) . Actually, the Japanese philosophy of “shingitai” was profounded initially by Yasuhiro Konishi in 1934, who was the founder of the Shindo Shizen Ryu.

Konishi’s Shindo Ryu was a system of karate-jutsu as Konishi had studied under Gichen Funakoshi and Choki Motobu, pioneers in the development of karate, eventually forming his own approach to teaching karate. In no way is Saylor’s Shingitai is a direct descendent of Konishi’s form of training, however, the philosophical roots of Shingitai Jujitsu have historical precedent in Shindo Shizen Ryu and through the teaching of Yoshisada Yozenuka, who was well-schooled in the traditional teachings of bujutsu and budo, to John Saylor early in his career as a judo athlete. Saylor was taught by Yozenuka that through dedication to training, carried out over an extended period of time, shin, gi and tai develop in proper proportion in the individual.

Saylor’s philosophy teaches that shin comprises the mental facet of the art. This also encompasses the “fighting heart” of the Shingitai exponent. The tactics, strategies, and cognitive appreciation of jujitsu also comprise this facet of the art. The word gi means technique. The Shingitai exponent must make a thorough and realistic technical study. Developing useful, effective and realistic skill is fundamentally important.

The word tai refers to the body and to the importance of physical fitness in Shingitai Jujitsu. One must be physically able to perform the techniques of jujitsu. Jujitsu is a fighting art and requires a body that can react when necessary and can physically adapt to the situation at hand. This also refers to austerity in living. Bad habits can lead to a weak body and a weak mind.

Saylor learned early on that an individual’s elevated degree of fitness often dictated his ability to fully accrue technical development and mental readiness for fighting. Thus, John Saylor built his personal philosophy on the three elements of shin, gi and tai .

By 1989, Saylor had organized the basis for his Shingitai organization and had studied various systems of fighting including karate, taekwondo, muay-thai, sambo and Olympic-Style wrestling, earning black belt gradings in karate and taekwondo. He also studied other systems of jujitsu.

Initially, John Saylor called his approach to teaching Shingitai Goshin-jitsu, which means “mind-technique-body self-defense-art”. He called it goshin-jitsu because what he was profounding was, according to him, a “well rounded approach to self-defense training”.

Saylor often compared Shingitai to the decathlon in track and field, where one must develop his skills in a variety of areas to be successful. A decathlete must have the skills and fitness level to compete in all ten events. He can’t afford to specialize in any one event at the expense of neglecting the other events. The same can be said in effective self defense. An individual must have the skills and fitness level to adapt to the many situations which may arise in real fighting.

The specialization which took place in the martial arts by the 1980′s made for a confusing and often ineffective mix of fighting arts being offered to the public.

In a situation that is analogous to what confronted Jigoro Kano almost one hundred years earlier when he originated Kodokan Judo, John Saylor realized that the martial arts was becoming a caricature of its original intent.

With an open mind to a multiplicity of influences, Saylor wanted to offer a realistic, combat-effective approach both in strategy and technical application. He freely borrowed from the traditional teachings of many bujutsu and budo sources as well as from the more modern approaches to physical education, strength and conditioning training and psychological training.

According to Saylor in 1993, “The Shingitai Goshin-Jitsu Association is dedicated to the mental, technical and physical development of its members through the teaching and practice of the most up to date and combat effective martial arts skills available today”.

Being historically accurate was important to Saylor in the development of his Shingitai. Realizing that contemporary instructors in various “martial arts” were “inventing” and “improving” on the more traditional styles (as well as the non-traditional systems) with an all-too-common regularity, often aggrandizing themselves and making outrageous claims.

John Saylor was a humble, albeit an erudite, man with a personality formed to a great degree by austere training and many situations which tested his mettle. He wasn’t about to “invent” a “new” style of fighting in the same mode as others in the United States were doing.

Saylor approached the development of Shingitai with circumspection. He was subjected to some criticism, especially in the U.S. judo community, for leaving his position as one of the leading judo coaches and embarking on a questionable course teaching self-defense. It must be remembered that John Saylor was a leading judo instructor and was accustomed to coaching elite athletes. To turn his back on all this was met with skepticism by some people in the U.S. judo establishment.

John Saylor, in the founding of the Shingitai, was following in the footsteps of other twentieth century technicians who were evolving what has come to be known as “martial arts”. (The author places quotes around this phrase because it is so misused and misunderstood.

Classical bujutsu (martial art) evolved into classical budo (martial way or philosophy) in Japan prior to the Meiji period (starting in 1868), which led (after 1868) to the modern cognate forms of judo, karate, kendo and others.

The modern cognate forms such as Kodokan Judo, Shotokan Karate-Do, Aikido, and others were founded by Japanese technicians and masters with direct philosophies foundations in Zen and Shintoism. The founders of these disciplines borrowed liberally from the theory and the practice of classical bujutsu and budo. Classical bujutsu, simply stated, was the Japanese study of warfare. Bujutsu was a generic term for the many arts of war that the bushi (warriors) were required to learn. When warfare changed with the opening up of Japan by westerners, bujutsu (and the professional warriors who adhered to it) become unnecessary. This led to the development of budo (martial way) in Japan after approximately 1603 (the Tokugawa period, 1603-1868).

Bujutsu are the combative systems designed by and for warriors to promote self-protection and group tactics. Budo are spiritual systems, not necessarily developed by professional warriors or for warriors, for self-perfection of the individual with the combat skills being secondary. By studying budo, the individual may achieve self-realization as end result of arduous training.

This all ties into the development of Shingitai Jujitsu because what took place after the modern cognate disciplines of judo, karate, kendo, aikido and others were studied by westerners not acquainted (partially or completely) with Japanese secular philosophies (such as Zen) is that these “martial arts” were altered to more western tastes and (as, for instance, judo and karate) became far more oriented toward sport and recreation. An example is Okinawan te, which became Japanese karate in 1924. Upon its arrival in the United States, in eventually evolved (or devolved, depending on your point of view) into kick boxing and other sport-oriented forms. In many cases, these forms vaguely resembled the original karate.

A similar situation took place with the development of sambo in the Soviet Union. The Soviet Government commissioned Anatoly Harliempf and others to develop a method of hand-to-hand combat for the Soviet military in the early 1920′s. Harliempf and his contemporaries traveled to Japan and studied Kodokan Judo. Harliempf received a 2nd degree Black Belt in Kodokan Judo, and after making a study of grappling and fighting systems throughout the Soviet Empire, eventually developed sambo in the early 1930′s. “Sambo” is an acronym for the Russian words meaning “self-defense without weapons”. Basically, what the Soviets did was take the technical facets of judo, remove the philosophical underpinnings, make some adaptations technically and create their own hand-to-hand combat systems.

This very thing is what has taken place by westerners since the late 1960′s, especially in the United States. In many cases, however, those who have altered judo, karate, aikido and the other disciplines have retained many “trappings” of the original “martial art”.

Such trappings usually always include a belt rank structure with the “founder” of the new “martial art” naturally being the highest rank or with the most colorful belt. Jigoro Kano, the founder of Kodokan Judo, was the man responsible for the formation of the belt grading system as most people know it today. The other Japanese disciplines eventually adopted Kano’s belt rank structure.

While the vast majority of westerners claiming advanced belt rank take for granted the system of belt ranks used in the “martial arts” as something that has always been there, they have retained this part of Japanese culture in their modern “American” fighting systems.

John Saylor realized all of this when he started to teach Shingitai .It was not his intention to establish another organization from which he could promote himself or others in belt rank or inflate his own ego.

Saylor, realizing that as a non-Japanese, his discipline of Shingitai might not be accepted as a serious attempt to teach a more rational approach to personal combat and a serious discipline in jujitsu. He didn’t want to place himself in the company of those “masters” who had plenty of credentials displayed on the wall but couldn’t back up their claims with serious or effective training methods.

In fact, John Saylor never claimed any belt rank in Shingitai until a group of senior Shingitai instructors, in 1996, placed him on a “schedule” of belt gradings which would eventually place him at 10th Degree Black Belt when he was well into his sixties.

Another interesting fact about belt rank in Shingitai is that John Saylor originally wanted Godan (5th Degree) to be the highest belt grade, and kept this edict until he widened his technical syllabus in Shingitai in 1996. He expanded the belt gradings to ten dan grades primarily because most other American Jujitsu and “martial art” systems were using the ten dan grades. However, unlike most other systems, Saylor was adamant that the higher dan grades wear the black belt only and not the red and white, red, red and black, gold, or other colors which had become so popular.

This was an obvious message to his dan grade holders and instructors the humility and simplicity were very much part of the Shingitai philosophy. Knowing that the belt rank system was a necessary part of the “American” approach to “martial arts”, John Saylor wanted to keep the whole belt rank issue within reason.

Saylor made the decision to teach Shingitai with its philosophical base being the combat-effective cornerstones of the classical bujutsu. Realizing that classical bujutsu was designed for warfare from a technical point of view, Saylor wanted to retain the philosophy of stressing realistic skill in combat situations and eschewing the aesthetic and exaggerated techniques seen in other “martial arts”. Saylor emphasized that function dictated form.

John Saylor changed the name Shingitai Goshin-jitsu to Shingitai Jujitsu in 1995. The American public was familiar with the name jujitsu so the term goshin-jitsu (while more correct in describing his self defense art) was replaced.

As Shingitai evolves technically, the primary philosophy of realism and combat effectiveness that John Saylor made the foundation of his fighting art will not change.

Shingitai Jujitsu is very much one of the late twentieth century cognate disciplines with its roots in self defense as opposed to the classical martial training of ancient Japan. However, the major difference is that the philosophy of Shingitai is rooted in the classical martial training of emphasizing effectiveness over aesthics. Function does indeed dictate the form in Shingitai Jujitsu and its primary objective is to offer realistic, effective self defense training.

THOUSANDS OF YEARS BEFORE JESUS was born, a small group of men knew how to summon the courage of a bear, achieve the mental alertness of a fox, show the compassion of a dove, teach their sons the wisdom of their forefathers, and savor every stress-free moment of their lives following the path of the Seven Sacred Feathers, the natural laws of Tushka-homma. They were (Achafa-Tushka) the 1st Warriors.

Confusion was unknown; the feeling of alienation and detachment from the rest of humanity was unheard of, depression and stress where never given a chance to take hold. To these men, every thought was an action, every action was an event, and every event had its purpose in All That Is. Past, present, and future were no different than ice, water, and steam – just different shapes of the same substance. As a man progressed through years, his destiny was shaped by progressive revelation of the true nature of things, represented by Seven Sacred Feathers.

These men shared the thrill of the hunt, the strength of the fight, and the contentment that only knowledge of their place in the universe could bring. They slept a sound sleep of good dreams, and woke to days of victory and plenty. They stood at the Center with family and it was peaceful. Life was strong, joyous, and filled with purpose. It was a Song of Strength.

It was lived for countless generations, filling the past with pride, and promising illumination to men of the present and sons of the future. It filled the body with health, the bones with strength, and the heart with song.

From the bounty of nature and the ways passed down to them from their fathers and grandfathers, they built weapons to feed themselves and their families, and to defend against attack. Knives, spears, axes, and clubs became extensions of the man himself, each extending his reach and power, giving him the strength and teeth of the greatest animals. They developed techniques that kept the body strong and safe, while re-enforcing the cycles of nature and the directions of the universe in the mind. The techniques were the Movements of Men on the earth.

The Movements were simultaneously a tool, a prayer, and a language that expressed infinity as motion in the shape of man. The Knowledge of the Movement connected man to earth, earth to sky, and sky to All. It was passion, strength, adaptability, and wisdom. The knowledge of the Movement made him “Tuska-homma”: Warrior.

In the cycle of things small and large, in the falling of the brown leaf and the rising of the yellow sun, Tushka-homma echoed life: The Warrior both performing and being part of the movements of life for the cycles of time and creation.

Years passed. Seasons progressed. Centuries walked along. Millenniums came and went. The Knowledge of the Movement became distant, but not forgotten. Its echoes were fading, but not gone. The Power was still there, like a river turned to ice, waiting for Spring to release it again. Strong, but hidden, its shape frozen in the ancient memories of the sons of those Tushka-homma Warriors who originally saw the river deep and strong, and swam in its waters.

We find ourselves in 21st century America, standing on the very land where Tushka-homma was born. This is where Tushka-homma Warrior’s hunted and fought and thrived for thousands of years, connected to All That Is. Tushka-homma is the Movement, Tushka-homma is the Man – there is no division, there is no difference. This is the land of the seven directions. This is the land where past, present, and future all meet, where all Apprentice Warriors began learning the Movements of Life

You feel there is more to the frozen river than just ice. You can feel the past becoming the present as ice melts into water… Sometimes, very faintly and almost drowned out by the sounds of the city and daily cares, you have heard the distant rushing of the water. You have never seen it, but you can feel it, beginning to rumble beneath your feet. The thaw is coming, and the first of the ice is melting. The Knowledge of Movement is starting to flow. You have asked the question before, “why am I here and what is to be my destiny”? Tushka-homma calls to the bravest fathers and sons of the land to immerse themselves in the learning river, to be the New Tushka-homma, to become the Apprentice Warriors of the new century… Chief Adrian Roman, Choctaw Nation.

Red Warrior System ~ by Dr. Robert G. Rose

Some years ago, Adrian “Chief” Roman, already well-known within kenpo karate circles, began working on a fighting system to honor his native Choctaw people and, indeed, all American Indians. He faced more than a few challenges.

He knew that the Indians were great fighters in terms of archery, lance throwing and so on. He did not, however, know much of their hand-to-hand techniques. Since every culture possesses empty-hand fighting methods, it would make little sense to suppose that America’s many Indian tribes did not. Unfortunately, the details of much of their culture, including hand-to-hand fighting, were lost when waves of settlers from Europe migrated west.

Chief wasn’t discouraged. He drew on two sources to develop the system that would eventually be called tushkahoma, which is Choctaw for “red warrior.” First, he learned grappling and striking techniques passed down to him by his father and uncles. For the most part, however, he knew he would have to recreate the lost fighting systems based on the Indian way of life.

It All Starts With the Knife

Indians carried knives as customarily as modern Americans carry a driver’s license. It was an all-purpose tool as well as a weapon. If a close-quarters altercation began, it’s reasonable to assume the combatants did not put down their weapons.

Once you imagine a fight with knives, a system begins to emerge. A system is not a hodgepodge of techniques but a set of moves unified by reasonable assumptions and a short but essential list of underlying principles.

Assumption No. 1: Knife fighting exists in reality. All Chief’s training is reality-focused, and that’s especially true for the red warrior system. Many martial arts neglect hand-to-knife combat based on the very reasonable assumption that it’s virtually impossible to even the odds in a fight against an armed assailant. Since most arts are sport-based, you wouldn’t pit an unarmed person against a person with a knife any more than you would put a lightweight in the ring with a heavyweight.

In the reality of the American Indian, however, there were no doubt occasions when one person lost his knife during an altercation. Did the unarmed person at that point simply bare his throat and wait for the end? Certainly not. In a world where everyone was packing a blade, might martial arts teachers have thought about the eventuality of losing one’s weapon? Certainly.

Reality involves virtually no margin for error. In sport, you can take a strong but wild swing; it’s a calculated risk based on your vulnerability to being counterattacked. You may get hit by that counter, and the worst case will be that the ref wakes you up to fight another day. In life-or-death situations, however, extreme caution is called for. If you get shanked, you probably won’t get up.

In reality, there’s no rest break and no bell at the end of three minutes. Your fight may last 10 seconds or 10 minutes. Every second counts against you. Exhaustion has the same skill-numbing effect as alcohol or drugs. Try staying away from someone swinging a knife at you in a closed room. He’ll expend virtually no energy, and you’ll be hopping all over the place. Your physical strength and conditioning may be greater than his; but sooner than you imagine, you’ll be cornered with no energy left to defend yourself.

Assumption No. 2: A warrior escapes from the encounter when possible. One of the hallmarks of reality-based self-defense is retreat. In a street fight, a weak ego with false pride may consider it necessary to “hold one’s ground.” In life-and-death warfare, there’s a logical dictate to avoid defeat and secure victory. Frequently that goal calls for retreat, even by the bravest and best. SEALs and Green Berets don’t fight against the odds if there’s no need to do so. They’re not out to prove anything.

In the same way, only the most foolhardy of Indian braves would have fought unarmed against a knife if there was any possibility of escape. Note that escape isn’t always synonymous with running away—for example, fleeing isn’t an option if it involves leaving a loved one behind or if you’re slower than your attacker.

Underlying Principles

The practitioner of the red warrior system understands that knife fighting is life or death, and when faced with an unavoidable duel with a blade-wielding assailant, he follows five basic principles.

Principle No. 1: Establish your base. All training emphasizes a strong base whether you’re on your feet or on the ground. (Chief prefers standing because rolling around on the ground when a knife is present can be deadly.) Establishing that base means getting out of the way of the weapon in a manner that gives your body firm support.

Opponents of knife defense point out, somewhat smugly, that you’ll get cut if you fight back. That’s like telling a boxer he’ll get hit if he enters the ring: It’s true, it’s obvious and so what? The boxer still needs to defend himself to the best of his ability. Of course, there’s a high likelihood of getting cut or stabbed in a knife fight, but quickly creating a strong base out of the path of the weapon can diminish that danger.

Principle No. 2: Intercept the weapon. This edict makes many students shake their heads. Establishing a safe base sounds like “backing away,” but that’s not the case. You must get close to the attacker, track the weapon and parry the hand that holds it. By intercepting the weapon, you build in a margin for error. Even if your technique fails—and every technique does fail sometimes—you will have moved the knife to where you want it to be.

Principle No. 3: Control the weapon. Now the logic of the first two principles becomes even more apparent. Controlling the weapon is the third, sequentially, but the primary one when it comes to importance. With a firm base and an interception, you’re in position to control. Once the weapon is controlled, you have at least a temporary respite and a chance to exercise your options. As long as you control it—which, in the case of the knife, means seizing the hand that holds it—you’re safe.

Principle No. 4: Take away the weapon. Acting on the assumption that your opponent knows what he’s doing, your control will not last long. You must disarm him, and that’s easier said than done. Since your opponent is no amateur, he knows he has to hold the knife tightly. A great deal of practice and finesse is required for the disarm, as well as an anticipation of cause and effect. He won’t be passive while you disarm him. For this reason, the number of techniques in the red warrior system is limited, but they’re modularized so they can be assembled in hundreds of combinations.

Principle No. 5: Neutralize your opponent. That usually involves doing physical damage to him. While it might sound vengeful, it’s not. It’s common sense. He has tried to kill you once; if he gains access to another weapon, isn’t he likely to try to harm you again?

The Dance of War

The aforementioned principles are also steps that must be followed, and they must be done in a flowing fashion, one moving seamlessly into the other. As the opponent thrusts his knife with his right hand, you zone to your left into a strong stance—a solid base—parallel to and outside of his line of thrust. Simultaneously, you use your left hand to contact and then grab, or intercept, the knife hand at the wrist/hand juncture, with your left elbow anchored at your side.

The need for a strong base becomes apparent because without it, you cannot turn the contact into a firm grasp of the wrist. A one-handed wrist grab isn’t a strong hold—until you rotate your opponent’s wrist counterclockwise to destroy his grip strength. Once that rotation is done, you’re temporarily in control of the knife hand. His grip is now weak enough for you to strip away the knife, but cause and effect says he’ll try his only avenue of escape—swinging the knife across his body and breaking your grip on the weak (thumb) side.

Thus, you step forward with his motion and strip the knife with your right hand. But you haven’t finished until you circle under his arm to effect a lock and drop to your left knee, pulling him down. Then you take steps to neutralize him.

Transcending the Knife

The red-warrior system has many counter-knife techniques, but it also has club-to-club methods, unarmed defenses against the club, and a range of defensive moves including bare hand vs. bare hand. All of them follow the logic of the knife.

As you read the principles above, one thing becomes clear: They apply to all effective techniques of self-defense. It’s only when you’re faced with a lethal edged weapon that you realize the need to show the proper balance of caution and aggressiveness that you should show in all fights. It bears reiterating:

•           First, always assume your fight is taking place in the real world. In competition, a touch to the stomach may score a point and a touch to the head may bag two points. That’s fine for tournaments, but on the street, if a small person hits a larger and stronger attacker in the stomach, it will likely have no effect. If that same small person slams a knuckle fist into the thug’s temple, it may be all the “points” needed.

•           In the real world, you should avoid conflict even if it means enduring insults. If you wind up fighting, you may have to deal with legal hassles afterward as you argue that you attempted to avoid combat.

•           In the case of a knife fight, you know your opponent is superior and potentially lethal. Assume that in every fight. Your opponent may be as skilled in a martial art as you are, and his kick may be able to cripple you as surely as a bullet. Forget the “invincible warrior” hype teachers may have given you. If Ken Shamrock, Royce Gracie, Muhammad Ali and Lennox Lewis can suffer defeats, how can you imagine that you’re invincible?

•           If you must fight, establish a firm base. Try standing on one foot and boxing—silly, isn’t it? Yet some martial artists pay so little attention to stance they might as well be standing on one foot. A firm base doesn’t mean staying still; instead, it means striving to keep your balance even while moving.

•           Intercept the weapon. A parry is often better than a hard block. You can redirect even a powerful strike with a well-timed parry. On the other hand, a block effected against a powerful blow may not be effective and might even break a bone in your arm.

•           Control the weapon. In the red warrior system, you usually take your opponent to the ground by locking an arm or leg in such a way that he cannot strike.

•           Disarm the opponent. He’ll likely strike again once you release your lock, so you must to take away his weapon immediately. This disarming action may involve hyperextending his arm to traumatize the joint, striking him or causing excruciating pain. You must do whatever is necessary to render him harmless.

•           Neutralize the opponent. In sport, a submission ends the fight. In reality, he may submit and then begin fighting again. There’s a fine line between defense and counter-aggression. If the fight is halted, your assailant is neutralized even if you haven’t “paid him back.” But equally important, remember that you cannot take a chance on letting him resume his violent acts before you’re able to escape.

“Kokondo” translates as “the way of the past and the present;” this is embraced by the art in that it emphasizes modern application of ancient principles. “Jukido” means “the way of gentle flowing power”; its meaning is similar to that of aikido, although technically it is considerablly different.

The techniques of Kokondo karate are drawn from several styles of Asian martial arts, but principally Kyokushin karate and Sankata karate-jitsu. Jukido jujitsu is also based on many styles, but principally Sanzyuryu jujitsu. The term “Kokondo” is used to refer to the two arts jointly.

History: The history of Kokondo and Jukido is bound closely to the history of its founder, Paul Arel. His formal martial arts training began in 1950, when he began studying Sanzyu-ryu jujutsu in Fitchburg, Massachusetts. By 1952, he had earned his black belt and began teaching jujutsu.

In 1956, he entered the Marines; he was stationed in North Carolina first, and later Japan. His travels as a marine were an excellent opportunity to study a variety of martial arts, including Isshin-ryu karate under Don Nagle, Sankata under Ishikawa and other jujutsu and karate styles. After his honorable discharge in 1959, he returned to Hartford, Connecticut, where he opened “Karate, Inc.,” the state’s first karate school, where he taught Sankata karate. In 1959, Arel founded jukido jujitsu and began teaching it.

In 1962, Arel was invited to train with Mas Oyama, the founder of Kyokushin karate, along with his top students. During this time, Arel was involved frequently with tournaments; he authored the rules for the first North American Karate Championships, and hosted several other championships over the rest of the decade. By 1970, Arel resigned from the Kyokushinkai-kan to found Kokondo karate, along with the IKA, the official governing body of both Kokondo Karate and Jukido Jujitsu.

Kokondo Karate: Origins, Principles & Techniques: Kokondo is a traditional karate style emphasizing practical, effective self-defense. Kokondo’s techniques and philosophies draw on a diverse array of East Asian martial arts, and include armed and empty-handed fighting methods developed in China, Japan, Okinawa, Burma, and the Philippines. Kokondo is classed as a Japanese karate style due to its strong emphasis on powerful body dynamics and its structured balance of kihon (basics), kata (forms), yakusoku kumite (pre-arranged sparring), self-defense and kobudo (traditional weapons).

The primary styles that influenced Kokondo’s development include Sankata Karate-jitsu; Okinawan Isshin-Ryu Karate-do; Sanzyuryu Jujitsu; and Kyokushinkai Karate-do, along with a variety of traditional weapons styles from numerous countries. Some of the other secondary ryu that have directly influenced Kokondo Karate, either through kata, bunkai or kumite principles, include Wado Ryu, Shotokan, Shorinji Kempo, Shorin Ryu and Bando.

The founder of both Kokondo and Jukido is Shihan Paul Arel, who has been practicing Budo full-time since 1950. He started training in Jujitsu, then intensively studied Isshin-Ryu Karate, Sankata Karate, Kodokan Judo, Aiki-jitsu, and numerous weapons and Jujitsu systems while in the U.S. Marines.

Throughout the 1960′s, Sensei Arel was a direct student of Mas Oyama (who awarded him 4th dan in 1966) and earned national recognition as one of the first Branch Chiefs of Kyokushinkai in the United States.

Kokondo does utilize many of the dynamics, kata, and powerful basics of the early Kyokushinkai, but does not emphasize sport as Kyokushin now does. Technically, Kokondo is a “jutsu” style, meaning that its primary goals are perfection of technique and realistic self-defense.

Philosophically, Kokondo is a “budo” style in the sense that the emphasis is on perfection of character, safety for one’s partners, and always doing one’s best. By stressing point-oriented competition, most modern karate styles focus their training on long-distance fighting. To a large degree, this competitive agenda has lead to a lack of effective blocking techniques and striking power in non-contact point karate systems; and also, virtually a complete eradication of kime (focus) in full contact systems.

Additionally, this long-distance fighting range encourages karate-ka to limit their practice to basic punching, kicking, and striking techniques, followed by an immediate retreat from the opponent. While Kokondo-ka do practice jiyu-kumite (free sparring), most real self-defense situations occur in medium and close range distances. Therefore, Kokondo stresses self-defense techniques against all types of chokes and grabs, multiples attackers, ground defenses, and the disarming of guns, knives, clubs and other street weapons.

For example, it is quite common to initiate a defense with a simultaneous block and retaliation, and then execute a takedown and containment. Kokondo is notable for using a large range of hand techniques (blocks, punches, strikes and immobilizations) drawn from kata, frequently including diverse morote waza (augmented techniques) that are rarely emphasized in many systems.

Keri waza (kicking techniques) in Kokondo are generally practiced for power and speed rather than height. High kicks and jumping kicks do serve a purpose in traditional karate and are part of IKA training, but are not stressed or frequently applied in self-defense by most Kokondo-ka.

The nucleus of Kokondo’s versatility is the synthesis of three dynamic principles: Kuzushi (unbalancing); Jushin (Center Line Principle); and Shorin-ji (Points and Circles). Although more commonly discussed in Judo and Jujitsu, kuzushi is also an essential part of every Kokondo karate technique.

This core principle relates to distance, timing and motion, allowing the Kokondo-ka to block or redirect incoming attacks and respond instantly with economy of motion.

When using kuzushi correctly, it is much easier to choose the most ideal targets and retaliate with a few well-chosen techniques, rather than a flurry of flashy but less impactful ones. Kuzushi techniques appear in every Kokondo kata, often hidden in the subtle transitions between major kata techniques.

Combining basic techniques in both renraku (simultaneous combinations) and renzoku waza (successive combinations) also generates Kuzushi, as does a very specific type of full-body muscular energy flow that is taught to more experienced Kokondo practitioners.

Shorin-ji reflects the Chinese influence in Kokondo Karate. Unlike many Japanese karate styles that exclusively highlight strong, linear dynamics, the use of circular and rounded blocks and strikes allows for great speed and fluidity.

Kokondo’s arsenal of hand techniques is vast, and the combination of circular defenses with deep, strong stances and linear punches, strikes and kicks is devastating. Shorin-ji also relates directly to the well-known karate concept of hard and soft (go & ju), an essential balance of techniques based on driving, linear power and deceptive, sudden force based on circular, whipping and snapping power.

One broad example of the points & circles concept is body shifting, or tai sabaki. In kumite, many Japanese karate styles rely heavily on a front to back or side-to-side evasion strategy. The result is a powerful and stable stance from which to retaliate, but those movement patterns may become predictable to observant attackers.

Many Chinese styles are far less predictable, using all sorts of directions for evasion, but they often lack the retaliatory power generated through straight-line dynamics. Kokondo systematically meshes the strength & stability of Japanese karate movement and stances with the variety of Chinese and Okinawan hand and foot tactics, resulting in a wide range of both body shifting and retaliatory capabilities.

Jushin, the principle of attacking and controlling opponents on their vertical and horizontal center lines, is a system of continuous quartering which can enhance every technique in one’s arsenal, regardless of style.

Although more easily explained and understood though physical contact than written description, Jushin is especially helpful for targeting a retaliatory strike, punch, or kick, executing a joint-lock, or quickly dispatching an opponent with a take-down or throw.

Jushin also incorporates many specific kamae (fighting postures) that may be used effectively in kumite or against multiple attackers. Some of these kamae come directly from karate kata while others stem from traditional Jujitsu, and therefore greatly expand the arsenal of Kokondo karate-ka.

Principles: The central principles of Kokondo Karate and Jukido Jujitsu are:

• Jushin: the center line. The horizontal and vertical center lines of an opponent’s body is critical to the effectiveness of techniques. Attacks should be on the center line; containment techniques should be applied along the center line, and throws should break the center line.
• Kuzushi: unbalancing. Motion (your own or an opponent’s) creates an imbalance. Creating and controlling this imbalance leads to effective techniques.
• Shorin-ji: points and circles. Neither straight line techniques (as in many Japanese systems) nor rounded techniques (as in many Chinese systems) are ideal separately: each has their strengths and when combined, the result is more effective.

Philosophy and rules: Kokondo is a closed system: students are expected to not train in any other martial arts. The focus of the two arts is on effective, realistic self-defense.

Kokondo-ka (Kokondo practitioners) are discouraged from engaging in martial arts tournaments; it is Arel’s stance that training for tournaments is disruptive to self-defense training. The seven codes of Bushido (benevolence, courage, honor, justice, loyalty, politeness, and veracity) are considered particularly important ideals for Kokondo-ka, in their karate as well as in their behaviour while training, as well as their behavior generally.

Kokondo dojos are usually run by volunteer sensei, though there are exceptions. The IKJA rejects the practice of student contracts, and attempts to retain students through excellence of instruction. Kokondo welcomes women, and has equal expectations of female and male kokondo-ka.

Belt ranks: There are 11 ranks before black belt in Kokondo karate: White, White 1, White 2, Yellow, Yellow 1, Yellow 2, Green, Red, Brown 3, Brown 2, and Brown 1. In Jukido Jujitsu there are thirteen ranks before black belt: White, White 1, White 2, Yellow, Yellow 1, Yellow 2, Orange, Blue, Purple, Green, Brown 3, Brown 2, and Brown 1. The brown ranks are numbered in decreasing order, corresponding to the rank of the kyu; 1st kyu corresponds to Brown 1, 2nd kyu to Brown 2, and so on.

There is no fixed timetable for advancement through the ranks, but it takes an average of about 4 or 5 years for a student to earn their black belt.

Emphasis:

• Practical, realistic & effective self-defense
• Safety
• Self-Confidence
• Responsibility- “Appropriate response training”
• Personalized attention
• Fun

Typical classes often include:

• Traditional Bow-in: Greeting to Sensei and fellow students
• Warm-up, stretching, brief calisthenics
• Basics: punching, kicking, striking, stances, combinations and drills
• Yakusoku Kumite- pre-arranged, controlled sparring techniques with a partner
• Kata: forms training practiced individually and in groups
• Self-Defense: pre-arranged techniques appropriate for each rank
• Surprise Attack scenarios, disarming, group drills
• Question & Answer period
• Traditional Bow-out: Thank you to Sensei and fellow students

History:

• Kokondo Karate was founded by Shihan Paul Arel in 1970
• Primarily a Japanese karate style, with influences from numerous Asian martial arts
• Emphasizes body dynamics for fast, powerful self defense techniques
• No major emphasis on tournaments or competetion

Some examples of the many styles of JHR are 52 Hand Blocks, Comstock Style, San Quentin style, Mount Meg, 42nd and Closing Gates. Many of these styles of JHR are thought to have evolved regionally in different penal institutions.

Some sources agree that these idiosyncratic variations of street fighting do not comprise a fully codified martial art, but should be considered as “street skills” comparable with other semi-codified urban skills and activities such as skateboarding, parkour and breakdancing, however with a recent boom of researchers and former practitioners coming out with more data it appears that Jailhouse Rock may in fact be America’s only “Native Martial Art” and should take a more prominent seat in the world of martial arts.

As such, Jailhouse Rock, the 52 Hand Blocks and their variants may be compared to the martial arts of capoeira and savate, both of which were originally semi-codified fighting methods associated with urban criminal subcultures, which underwent a gradual process of codification before becoming established as martial arts accessible by the cultural mainstream.

Existential controversy: The existence of this martial art has been debated, but some media exposure has contributed towards verifying the existence of Jailhouse rock. According to researcher Doug Century, professional boxers including Zab Judah and Mike Tyson have testified to the existence of the style and it is referred to in rap songs by artists including the Wu Tang Clan. Tales of the pugilistic exploits of legendary 1970′s New York prison fighter, “Mother Dear”, have also contributed to the extensive urban mythology surrounding this system.

The 52 Hand Blocks aspect of JHR is featured in a true crime book called Street Kingdom, published in 2002 and written by Douglas Century and is also detailed in the essay “Freeing the Afrikan Mind: the Role of Martial Arts in Contemporary African American Cultural Nationalism” by Professor Tom Green of Texas A&M University.

The name 52 may be a reference to the playing card games of 52 Pickup and to the expression “let the cards fall where they may.” Other theories relate the name to a combat training game involving the use of playing cards and/or to the Supreme Mathematics of the Nation of Gods and Earths.

Origin theories: According to some researchers and practitioners, JHR is an indigenous African American fighting art that has its origins in the 17th and 18th centuries, when slaves were first institutionalized and needed to defend themselves. Oral tradition has the skill evolving secretly within the U.S. penal system, with regional styles reflecting the physical realities of specific institutions.

This theory relates JHR to the fusion of African and European/American bare-knuckle fist-fighting styles known as “cutting”, which is said to have been practiced by champions such as Tom Molineaux, and also to the little-known African-American fighting skill known as “knocking and kicking”, which is said to be practiced clandestinely in parts of the Southern US and on the Sea Islands.

Alternatively, other practitioners claim that JHR was not a product of penal institutions but rather an evolution of the many African martial arts or fighting games which were practiced by slaves, with different styles evolving separately in different penal institutions. According to this theory, Jailhouse Rock may be a modern American manifestation of the many African martial arts that were disseminated throughout the African diaspora, comparable to martial arts including Brazilian Capoeira, Cuban Mani, Martiniquese Ladja, and Eritrean Testa.

Evolution of the style: Although modern versions of JHR are alleged to exist (e.g. Bum Rush, particularly associated with Chicago), it appears that the original styles have become extinct in the current penal systems, particularly due to the increasing influence of modern boxing.

Boxer Floyd Patterson’s “peek-a-boo” defense may illustrate the marriage between boxing and penal fighting arts, in that it was allegedly taught to him by convicts during his stay at the Coxsacki penal institution in New York, and later passed on to many other fighters by his trainer Cus D’Amato after he witnessed it’s effectiveness at Patterson’s hands.

A Version of Jail House Rock, referred to as “52 Hand Blocks” or “the 52s”, is said to have originated in the gang neighborhoods of Brooklyn and nearby boroughs of New York City during the late 1970s and early 1980s. 52 was created from old “black” boxing that was modified in the penal institutions such as Comstock, and Elmira and later used heavily on the streets as a male rite of passage.

It had a code of honor or street ethic that ensured that fighters would have no “beef” after a fight. It was flashy with moves such as switching baseball caps right before a knockout blow, yet at the same time was highly useful enabling many a gangster to survive both street and prison life.

The first element of training is, in fact, almost completely based within traditional hard-style Chinese technique. Training later evolves from hard-style to soft-style. Technique in general is based on a “use what works” philosophy, and as such practitioners and students commonly describe any combative move or technique which is effective as “Haak Lung”. Haak Lung is thus an organic and ever-changing system, with large influences from Muay Thai, various Kung-Fu styles, and Karate to name only a few.

Within the Haak Lung Chuan-Fa fighting system are several weapons systems, specifically the use of a short-stick (influenced by Escrima), Karambit (specifically the “Gitlin Karambit” which serves as the signature weapon of Haak Lung), and a Knife-Fighting system called “Bei Shao-Fa” or “Hidden Knife Method”. The Hidden Knife Method is a total knife-fighting system based in speed, stealth, and deception. The knife is not used in any form of display, and ideally the opponent is not even aware that there is a knife until they have been cut.

The key to Haak Lung fighting is practicality and speed, and fighting takes place “on the inside”, making knees and elbows of particular importance. A fight conducted in the Haak Lung spirit should last no longer than 3.5 seconds, and preferrably less. This is because of the practical nature of the system, which emphasizes the possibility (and perhaps inevitability) of multiple opponents who may not be initially identified.

There are no forms, kata, or sport tournament techniques, just straight up dirty & practical street survival martial arts. The practitioner is first taught basic theories, footwork, camming, and striking weapons(Tools) of the body. They next learn to blend these with natural reactive “Primary Moves” & entries against all angles of attack, followed with multiple strikes, levers & combinations, that flow into finishing moves of temporary detainments or total destruction.

The student then discovers different methods of blending these elements, being able to counterattack with aggressive, naturally reactive moves, based on the opponents attacks and reactions. Instead of being taught memorized set pattern techniques, the practitioner learns to read weaknesses & manipulate human biomechanics, allowing the practitioner to create “techniques” instinctively.

Advanced students are introduced to knife fighting, weapons use & defenses, basic Mook Jong(Wooden Dummy) and Iron Palm conditioning. The goal of the Hurricane practitioner, is to destroy or detain an attacker within the first few seconds of contact, utilizing maximum impact with minimal effort.

All fighting styles have something to offer, and all have their strengths and weaknesses, and those strengths and weaknesses are dependent on the individual, not the style.

Frank Monsalve is a martial arts instructor who resides in Las Vegas, Nevada. He is the head instructor and founder of the Hybrid martial art Hurricane Combat Arts.

Hurricane Combat Arts was designed for military, executive protection/bodyguard and reality street defense. It is built on the theories of Russian Systema, Bruce Lee’s Jeet Kune Do, Muay Thai, Indonesian Pentjak Silat Serak and American military hand-to-hand combative concepts. Hurricane is informal, no uniforms, kata, or tournament techniques are employed.

The Hurricane Combat Arts Academy (HCAA) is located in Las Vegas, Nevada with affiliate schools in Texas and outside of the U.S. a school in Sweden.

Monsalve has over 3 decades of Martial Arts experience. He first started his training in Hung Ga Kuen Gung fu when he was eleven years old under Moc Kan Sent in Miami, Florida.

He currently holds the rank of 5th degree black belt in American Taiho-Jitsu under Alan Cunningham, 4th dan black belt in kempo under Gary Dill, 2nd black sash in Hung Ga Kuen Gung Fu, and Sifu in Wing Chun Gung Fu under Jiun Yi.

Monsalve is currently working as an entertainment security consultant and also as Chief of Security & Risk Management for MRE/KP Properties. He gives instruction of the Hurricane Combat Arts system to private students in Las Vegas, Nevada, as well as conducting seminars for law enforcement, military, security personnel, state employees, and self defense instructors and students from across the United States and around the world.

The art of Hoshinjutsu is a living and constantly evolving system of self protection, personal development, and internal focus training based on the creation of it’s founder, Dr. Glenn Morris. He was a true visionary with the mind of a scholar, spirit of an artist, and the raging heart of a warrior. His teachings have inspired hundreds of people from many different nations around the world to become better human beings. His sudden passing on April 1, 2006 was an incredible shock of indescribable loss to the ryu.

The Hoshinroshi ryu is now headed by Gord Hessie. It is Soke Hessie’s greatest wish to see the Hoshin system grow, prosper, and continue to evolve. The system is a combination of martial science, meditation and energy focus, as well as a distinct vehicle to develop an individual’s personal power to live with pride and dignity.

Our vision is to attract and create positive thinkers motivated to reach beyond their programming. Everyone has this potential. The Hoshin system can be the vehicle for change in those individuals driven to rise up against a challenge.

The life of a warrior is not necessarily synonymous with making war, however, it absolutely means the warrior is the crucible for change and it is the warrior’s challenge to rise above it.

Hoshin is an umbrella organization which was developed in the college environment, and has always emphasized development of the mind as well as the body. Reading the works of the masters, studying strategy, exploring anatomy and physiology in developing healing skills are included in the regular curriculum along with the physical techniques of combat.

Kindness and consideration towards others is just as important in Hoshin as the defense skills the student learns in class. Our classes are fun, with no rigid discipline other than a healthy respect for teachers and classmates. Once you have been accepted into the system, you will be expected to wear an appropriate colored patch and belt. Dogi, or t-shirt are worn during class if required by the instructor.

Why Hoshin? Hoshin is a conglomeration of skills, both martial and esoteric, which serve one general and basic purpose…. to develop a more fully actualized human being. A martial skills set can be learned from nearly any system. Hoshin’s martial component is an ecclectic mix of “things that work” from many systems refined to omit the useless repetition of kata and focus on real combat.

Secondly, the esoteric further defines us. As the martial aspect of Hoshin gives us more confidence and dignity of person to meet the day’s challenges with the knowledge that we can deliver significant retaliation to an attack, the esoteric aspect of our training allows us to meet each day with more dignity and grace because of the confidence it gives us as to our place in nature and our universe.

What Hoshin can develop inside you is more important that what it can develop on the outside. Hoshin is not about getting to a destination like a rank or title, it is about the journey.

Lastly, Hoshin is separate and far beyond any other system because of one thing… our sense of family. We are a community of individuals who have come together to learn and become better humans. There are so many people out there who wander through life from one moment to the next without a sense of purpose or community. Hoshin can be a vehicle for change if people let it.

History: Hoshinjutsu is seen by some as a more modern style of Ninjutsu. Hoshin was founded by the late Dr. Glenn J. Morris, a lifetime martial artist, literary scholar, and worldwide presenter.  Dr. Morris began studying martial arts while in his teens and had the great opportunity to travel the world during his time in the US military and while working within corporate America. This travel allowed him to continue studying various martial arts and select aspects of those arts that fit within his ideals of a balanced internal and external martial art.

In 1981, Dr. Morris, began working at Hillsdale College in Southern Michigan, USA.  Over the following year, circumstances lead him to assemble the previous years of training and knowledge into an academic course.  The techniques that had been learned from other martial arts were examined and dissected.  Any technique that was being critiqued for inclusion into the system was judged upon its effectiveness, ease of assimilation, and if it had the potential to inflict the most amount of pain/damage to the body and its energies. If the technique met those qualifications, it was then reassembled and modified into a simple format which could be easy for an inexperienced or beginner martial artist to learn.  Upper body strength techniques were kept to a minimum to make the course more compatible to the general public, and woman in general.  Importance was not only placed on the physical techniques but also on the strategy and transformation of consciousness involved in them.

After the initial completion of this research and compilation of internal and external martial traditions, Dr. Morris was then introduced to the ways of the Ninja thanks to Stephen Hayes. Dr. Morris and a few of his top students attended a seminar being hosted by Stephen Hayes who was the top ranked Ninjutsu instructor in North America at that time. This was also when Dr. Morris and his students had their first chance to see and learn from Dr. Masaaki Hatsumi, the 34th grandmaster of what is now referred to as the Bujinkan Budo Taijutsu.  This was truly an eye-opening experience for Dr. Morris as he and his students watched Dr. Hatsumi destroy some of their favourite and most feared techniques. Dr. Morris then knew that he was about to embark upon a long and fruitful journey, learning the ways of the ancient ninja.

Dr. Morris began learning the Ninjutsu art, as all westerners did, through Stephen Hayes.  Mr. Hayes’s experience in other ancient traditions such as Mikko and the like gave Dr. Morris a great example of how some people were teaching the internal and external sides of the martial arts together. Through this training with Mr. Hayes, Dr. Morris and his students began to learn about the principles of the Japanese Godai, what is known as the five elements (Earth, Water, Fire, Wind, and Void).  A principle that would be of great importance to all those who would study Hoshin in years to come.

The system of Hoshinjutsu was being formed as Dr. Morris began teaching it at the Hillsdale College Physical Education Department, with the first class having more than twenty students enrolled. This first course took place every Friday afternoon for two hours.  Dr. Morris felt a physical education course on a Friday afternoon would draw only the most interested and dedicated students.  His assumptions were correct, in total over 300 students enrolled in this course and which resulted in achievements of at least two belt levels. Within the course, a five level belt system was developed based on the Japanese Godai.

Each belt level required students to study and do reports on classic martial arts literature such as “The Book of Five Rings” by Miyamoto Musashi, “the Art of War” by Sun Tzu, along with learning yogic exercises, healing and physical self protection techniques.  A great emphasis was placed upon chi kung, meditation and esoteric self protection from both the Eastern and Western Traditions. This course was the roots of Hoshin, from which it continued to evolve and spread worldwide.

During that time, Dr. Morris continued his study of the art of Ninjutsu under the tutelage of Mr. Hayes.  After a time, Dr. Morris was then asked by Dr. Hatsumi to begin studying under Shidoshi Kevin Millis and another chapter in Dr. Morris’s Ninjutsu training began.  Dr. Morris and Mr. Millis created a great relationship built on a mutual respect for each others specialities. It was said that quite often when Mr. Millis and Dr. Morris were training together that Dr. Hatsumi would commonly ask “so who is the sensei today?”  Both Dr. Morris and Mr. Millis would end up pointing a finger at the other and smile and reply that the other was the instructor that day.

In 1993, the first of Dr. Morris’s four books were published: Path Notes of An America Ninja Master, Shadow Strategies of An American Ninja Master, Martial Arts Madness and Quantum Crawfish Bisque for the Clueless Soul.  These four books discussed much about his research, along with the relationship he began to create with Dr. Masaaki Hatsumi. By this time Dr. Morris had received his eighth degree black belt in Togakure Ryu Bujinkan Ninpo (what would later be called Bujinkan Budo Taijutsu). Dr. Hatsumi knew of Dr. Morris’s belief in the combination of the internal and external sides of the martial traditions.  A belief that was slowly becoming extinct among many of the new, or up and coming practitioners of Ninjutsu.  Most focused on the external sides of the traditions, while Dr. Morris continued to explore, research and teach the internal side. Dr. Hatsumi asked Dr. Morris to continue teaching this internal aspect of the arts, and help to keep them from becoming extinct.

The only way that Dr. Morris felt he could truly honor this request was to teach these internal aspects in his own martial system, Hoshinjutsu.  The following exerpt from Dr. Morris’ book “Path Notes of An American Ninja Master”, pg 136 summaries Hoshin. “I consider Hoshinjutsu to be a close but honed-down approximation of the ancient ryus as well as a modern introductory course that enables students to enter the world of the true or combatic martial arts without fear, and to have the confidence to follow their hearts far beyond the techniques represented by sport, the color of their obis, or the limitations of their instructors.  Hoshin provides a vehicle for attaining the advantages of flow or enlightened movement without the risk of surviving endless battles with others.  It forces the issue to conquering one’s own fears while entering unknown territory in the company of friends.”

Dr. Morris was the spirit of Hoshin with his zest for life, unique personality, profound intelligence and tremendously witty sense of humor.  On April 1, 2006, Dr. Glenn Morris unexpectedly left this physical world. Upon hearing of Dr. Morris’s death, Dr. Hatsumi honored him by awarding him with his Judan or tenth degree black belt in Bujinkan Budo Taijutsu.  An honor that is held in high regard among all who knew him.