Customer Rating: 
Summary: Fantastic kempo book; not only "how" & "why", but solid history too.
Comment: Having been a huge fan of Bill Durbin's many articles published in the various martial arts magazines during the 1990s, I was really excited to see another book out by him. What I have always enjoyed about his writing is that he provides an incredibly well researched historical background on the various topics, in addition to the technical/technique information. So many modern "martial arts" are so far removed from their historical lineages that few people truly understand where true martial arts (combat arts) came from and how the training originally happened. While there are some great MA history books out there (Draeger et al), all the emphasis on modern sport fighting/competition has really muddied the traditional true martial arts water, so to speak. Durbin seems to be a true traditionalist, and always backs up his theories with historical fact, which I appreciate very much; a nice breath of fresh air and a change from the "just do it this way bcause that's the way we've always done it" mentality of many MA systems. While it's true that this book is not even remotely a comprehensive kempo instruction manual, it IS a solid insght into the basic foundation of kempo in it's historical, combat-oriented context. I highly recommend it, and encourage anyone interested in books of this nature to see if they can locate and/or download any of his past articles (I have about 60 of them, and I know there were some that I didn't get) from magazines like Black Belt, and Karate/Kung Fu Illustrated.
Customer Rating: 
Summary: Decent book, generally good.
Comment: I'd actually like to give the book ***1/2, but I figure since they only allow whole numbers, I'll round down. Much can be learned from this book, of you are a begginer, or practice another Asian fighting form. Particularly, I like the explaination of Embu, and the principles behind Kempo's fluid striking combos. One thing that caught my eye is how the author always tried to link Chinese, Okinawan, and Japanese martial history, ephasising Okinawan. I'm no historian, and though I doubt the links were as close as presented, it did pique my interest in seeing how accurate the history was, and has therefore opened my eyes to Karate/Kung-Fu/Kempo history. Some basic striking techniques are presented, but the bulk of the book is not "how to do a front punch", it is "do this to make any strike more effective". I dislike, however, that the author seems to call every Asian art Kempo, including Jeet Kune Do. Overall, the book is good to read, but mostly for the "art/philosophy/history" types. Folks interested in sport or protection would do better to look elsewhere.
Customer Rating:
Summary: An ok book for Kempo
Comment: I like this book and would recomend it. However I was hoping for more kata than what they gave in this book. It is great for learning blocks, kicks, and punches, but not much else
Customer Rating:
Summary: Embu - Kempo Training (Excellent History, Ancient Kata)
Comment: A special method of Kempo training origins during class called "Embu". Embu is extremely efficient way of teaching students how to apply their skills in actual combat while avoiding the contentiousness nature of sparring. Sparring is not the traditional method for teaching martial arts. The purpose of sparring to teach speed, distance, rythm, and timing. However, the end results of sparring while not create the desired quality and deep understanding of the art. Anciently, the fighting monks practiced kempo to improve personal security against bandits. It is very doubtful these monks would have engaged in actual fighting to practice the martial art. Monks regarded injury to an another human being as unacceptable. Often after a real confrontation, they would administer relief to the injuried attackers, when possible. The monks sought peace and esteemed themselves as pacifist. So, how did they obtain fighting skills second to none?
The monks practiced kempo using the philosophy called embu. Embu in Japanese means "Martial exercise." The first Embu method has two partner moving simulateously, without any prearrange techniques. They move softly and slowly maintaining safety. The one punch pull is required to avoid contact and serious injury. The flow between defense and offense is expressed during the exercise. To the viewer, it seems like the practitioners are engaged in a dance: weaving, entering, blocking, and striking. The use of hand and foot skills is encouraged. As the skill levels increase, vitals areas become the pin point targets. Embu should appear effortless and direct.
The second embu method requires coreograph or a set of moves to be practiced. A group of four students work together with one student defending against the other three. Each student has a set of moves to perform, whether it be an attack or an defense. As students masters the old movements they can begin to create new movements. The new movements usually are created after a few years of study with the teacher. At first the student learns how to perform each movement. The movements are practice slowly at first, and the speed increased as their skill improves. Eventually, the practice increases in speed and power. The attacking students measure their response after each defense technique is performed by the defending student. The flow of motion can increase in speed and power until it closely approximates real combative environments. The one inch pull punch or kick is encouraged, to avoid serious injury, and allow for continueous training. If injury starts to occur during training, students are required to examine levels of control, slow the techniques down, and apply an softer application of the technique.
Eventually, the subtle mysteries of the technique are revealed, and as the student reflects on the technique a vast range of application are realized: joint turns, throws, cavity presses, blocks, strikes can be seen in the technique. Additionally, the use of chi and mental focus changes the techniques consequences. Kempo real power is understanding vital points and how mental focus increase the effectiveness of the strikes and block. The most powerful material breakers are often practitioners of kempo. Softer and more penetrating potential is realized by the defending student. The student begins to visual the physical consequences resulting from each techniques. The degree of reflection depends on the understanding of the student and their perspectiviness. Students are required to reflect on their practice and work together to improve each others perfection.
Kempo techniques are expanded to use grappling. Anciently and modernly, Chin na expresses itself within the philosophy of kempo. Throws, chokes, joint locks put the receiver down. Finishing strikes can be apply allowing the practitioner to clear the oppponent before moving to the next attacker.
During practice Kempo trains against a vast variety of weapons: knives, clubs, staff, sword, and hand to hand. Embu philosophy still applies regardless of the attack pattern and type. The goal is to blend and work harmously and effortless against a wide range of spacial patterns. Position, speed, power, and feel are developed during practice.
Embu does not encourage aggression. It allows realistic self-defense training. The result is a stronger feeling of calmness and control by the student. More importantly it enourages cooperation and control through a heighten sense of awareness. Movement can flow from one attacker to another, awareness of how space can be occuppied is anticipated. Vulnerabilities become traps with counters, locks, and strikes responding. In Kempo, embu is essential to proper training and development.
Customer Rating:
Summary: Excellent!
Comment: I found this book to be a very interesting and informative look at the art of Kempo. The author presents information in a refreshingly unbiased, down to earth manner which is very easy to read and digest. While this book will by no means teach you Kempo (it focuses more on the WHY than the HOW), I have found it to be an excellent addition to my lessons. Many of the ideas in the book will blend well into any form of Kempo, and probably other arts as well. The author presents many interesting and effective ideas on training, both physical and mental, as well as loads of interesting history. The only complaint I could possibly make is that I wanted to read MORE when I finished! I hope the author chooses to expand the information presented here in future volumes.
