LARAMIE KEMPO

KARATE CLUB

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LARAMIE KEMPO KARATE CLUB

INTRODUCTION

Head Instructor: Kyoshi Amber Travsky, 8th degree Black Belt

1116 Albin Street 742-5840

Instructors: Renshi Rich Travsky, 6th Degree Black Belt

Sensei Shawn Palmer, 2nd Degree Black Belt
Sensei Ross Tolman, 2nd Degree Black Belt
Sensei Tiffany Young, 2nd Degree Black Belt

Other Black Belts from the Laramie Kempo Karate Club:

Nick Haderlie, 1st Degree Black Belt
Mark Wingate, 1st Degree Black Belt
Dan Eastwood, 1st Degree Black Belt
Jack Wimbish, 3rd Degree Black Belt
Karen Rogers, 3rd Degree Black Belt
Elijah Massey, 1st Degree Black Belt
Nathanael Massey, 1st Degree Black Belt

Web site: http://www.laramiekempo.com

SCHOOL MOTTO

Above all else, to seek to Don't permit yourself to show temper,

control my mind and my body and always remember that when you
to obey my will quietly. are in the right, you can afford to keep
your temper, and when you are in the
To seek to adjust to every wrong, you cannot afford to lose it.
situation, good or bad, which I
may meet in my daily life.

THE FIVE S's OF KARATE:

Strength
Stamina
Skill
Speed
Surprise

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BELT RANKING

There are Junior and Senior rankings. The belt colors are the same, as listed
below but Junior belts have a black stripe running the length of them. Junior ranks
also earn four stripes at each level before testing for the next rank.
Rank Belt Color
9th Kyu White
8th Kyu Yellow
7th Kyu Orange
6th Kyu Blue
5th Kyu Purple
4th Kyu Green
3rd Kyu High Green
2nd Kyu Brown
1st Kyu High Brown

Black Belt Ranks:

1st Dan Shodan
2nd Dan Nidan
3rd Dan Sandan
4th Dan Yodan
5th Dan Godan
6th Dan Rokudan
7th Dan Shichidan
8th Dan Hachidan
9th Dan Kudan
10th Dan Judan

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HISTORY OF KEMPO
Prepared by Amber Travsky, 8th Dan and Edited by Grand Master Stephen Blackburn

The art of Kempo is unique, as far as its history goes in two respects: it is considered by many to
be the very first eclectic martial art, as well as having reasonably firm roots dating back to 520 b.c.
The person who was the catalyst of Kempo was a prince of southern India named Bodhidharma
(P'uT'iTaMo in Chinese). According to the records of Lo-Yang temple, Bodhidharma was a
Buddhist monk under the tutelage of Prajnatara. It is presumed that upon his deathbed, Prajnatara
requested Bodhidharma to travel to China where the principles of Buddhism were in decline, and
spread the knowledge of dhyana (zen Buddhism or Chan Buddhism).

It is estimated that in 520 during the Southern dynasties, Bodhidharma entered China and
traveled northward to the kingdom of Wei where he met Emperor Wu of the Liang dynasty. During
this meeting the emperor and Bodhidharma entered an intense period of discussion over
Zen koans. Bodhidharma did not convince the worldly emperor so he left his court to travel to the
Honan province and enter the Shaolin Monastery.

Upon his arrival, Bodhidharma noted the haggard condition of the monks. The monks it seemed
spent all their time in passive meditation and carried on with little or no physical exercise. Many of
the monks would often fall asleep in meditation, while others needed assistance in the basic
necessities of life due to their weakened condition. For several days, Bodhidharma himself
meditated on the predicament in a cave outside of the temple, seeking enlightenment to the
situation. Upon his return, Bodhidharma began to instruct the monks in an art he called Shih Pa Lo
Han Sho, or 18 hands of Lo Han. The techniques of Lo Han were used as a method of physical and
mental conditioning, and were never intended to be used in the arts of war.

During the Sui period of China's history, approximately 40 years or so after Bodhidharma's
death, hoodlums furiously assaulted the Shaolin monastery and the monks' attempts at defense were
next to futile until a priest, referred to as the "begging monk", defeated several of the outlaws with
an extensive array of hand and foot techniques. The techniques of this monk so inspired the other
priests that they requested instruction in the martial style as a way of protection. This art was later
to be known as Shaolin Chuan Fa or "Fist Method".

Several decades after Bodhidharma's death, a Chuan Fa master known as Ch'ueh Tuan Shang-jen
(Chin Gempin in Japanese) rediscovered the original Lo Han techniques, lost for many years and
adding his knowledge of Chuan Fa to the repertoire, increased the total number of techniques to
seventy-two. Ch'ueh then spent the next few years traveling, promoting his art, until he met Li in
the province of Shensi. Li, a master of Chuan Fa as well as other arts, further developed the
techniques of Ch'ueh, and together formed a total of 108 techniques. Furthermore, they categorized
these techniques into five categories, distinguished by various animals whose instinctive actions
reflected the movements of this new version of Chuan Fa.

At this period in time, the evolution of Chuan Fa into Kempo breaks off into two separate
branches - one to the Ryukyu kingdoms of Okinawa and the other to the islands of Japan. Little is
known about the actual development of Kempo in Okinawa, much coming through mainly due to

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legends or comments of certain Karate masters of the 20th century. It is believed that sometime
between the Sui and Ming dynasties (800-year gap) Chinese monks brought over Chuan Fa to be
taught at various temples. What happened at this point is unknown.

One of the legends that is much easier to follow and well documented concerns a man named
Sakugawa who traveled from his province of Shuri to China in the 18th century to learn the secrets
of Chuan Fa. After several years Sakugawa returned to Shuri, much to the surprise of his kin who
believed him dead, with a mastery of Chuan Fa. Over the years, Sakugawa refined the techniques
of Chuan Fa and formed the art of Shuri-te, the predecessor of modern Karate.

Another member of Shuri, Shionja, returned to Okinawa from China around 1784 with a Chinese
companion, an envoy from the court of Peking, named Kushanku bringing with them the art of
Chuan Fa which both studied in China and traveled around Okinawa demonstrating their art.

Aside from these two brief tales, little can be said about the development of Kempo in Okinawa
for little or no mention of its being is mentioned until the popularization of Karate in 1903. None
the less, the development of Chuan Fa can be clearly seen in the arts of Shorin ryu and Goju ryu
Karate, as well as Ryukyu Kempo.

In 1609 Okinawa was taken over by the Shimazu clan of Japan who passed a number of
prohibitive ordinances including a ban on all weapons. In 1629 Okinawans banded together to
resist the enemy, resulting in a new fighting style called "te" and translated "hand". This style is the
first recorded instance of an art that closely approximates modern karate. The study of this art went
"underground" to avoid detection by the Japanese samurai. Because of this, 'te' took on two
characteristics: it became secretive and it became extremely violent since the sole purpose of its
practitioners was to maim or kill.

In 1875 Japanese occupation ended but the secrecy of karate continued for some time. Rivalry
between schools developed as each began vying with others for supremacy in these arts. Some
schools developed a competitive sport emphasis while others preferred to keep their art on a higher
level, disdaining from competition of any sort and practicing only kata.

The evolution of Chuan Fa is far from clear in Japan and many gaps still remain. The term
Kempo is the Japanese pronunciation of Chuan Fa and translates as "Law of the Fist" or "Way of
the Fist". One of the main theories behind the development of Kempo is similar to that in Okinawa
that concerns the various Buddhist temples teaching the art to various young monks. The actual
practice of Kempo in these temples was kept secret until the 17th century, at which time the art of
Shorinji Kempo began to be taught outside the temple.

At the beginning of the 17th century two families, the Kumamoto and the Nagasaki brought
knowledge of Chuan Fa from China to Kyushu in Japan. This art was modified throughout the
years into its current form known as Kosho-ryu Kempo, or "Old Pine Tree Style". The most
modern versions of Kempo have sprouted from this form.

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In 1955 Masters Shigeru Nakamura and Zenryo Shimabuku formed the “Okinawa Kenpo
Renmei” (Okinawa Kenpo Association) to support the promotion of the practice of Karate’
through sport competition and to unite all Okinawa Karate. It was his desire to raise its status to
the same level that Japanese Kendo and Judo shared. Master Nakamura is known for his
development of “Bogu Gear” which is protective gear used in contact sparring.

Upon the death of Master Nakamura in 1969 The Okinawa Kenpo Renmei disbanded, though
his students retained the name Okinawa Kenpo. We are those students.

Two years later, in 1972 Master Seikichi Odo took over as head of the system and instituted
the Kobujitstu Arts (Okinawa Weapons) into the style. This is something that Master Nakamura
had not wanted to do.

One of Master Nakamura’s students, Master Hideka Nakayama, continued to teach Master
Nakumura’s Okinawa Kenpo Karate’ having brought it to the United States at the request of the
United States Air Force where he opened a dojo in Cheyenne, Wyoming with a student of his.
There he took as a student Master James M. Lloyd. Master Lloyd was promoted to Sho dan on
the 8th of August 1973, by Master Nakayama and San dan George M. “Micky” King.

All research seems to indicate that there was a split in the style of “Okinawa Kenpo” upon
the death of Master Shigeru Nakamura. Master Odo included in the style the teaching of
Kobujitsu and making weaponry required training. And Master Nakayama continuing to teach
only “Empty Hand” techniques. Details of this division are not available and reasons can only be
surmised. The political implications are probably not Karate’s finest hour. Master Odo did not
change or loose any of Master Nakamura’s art but he did expand upon it. Many very good things
came from Master Odo’s influence on the style and the inclusion of the Kobujitsu Arts is a
matter of perspective. Master Nakamura was a practitioner of both Karate’ and Kobujitsu but
believed they were of a different philosophy, apparently so different that if combined into one
style each would detract from the other. One of his main goals was to raise the status of Karate’
to that of Kendo and Judo through competition. Sparring with weapons would be dangerous and
was impractical. The addition of Kobujitsu took the style into a different direction. Master
Nakayama continued with the same philosophical direction that Master Nakamura intended.

Master James M. Lloyd studied under Master Nakayama after training with several people
for relatively short periods of time. Master Nakayama provided a complete formal foundation
upon which Master Lloyd built and excellent and accomplished career. He continued to be a
student of Master Nakayama until Master Nakayama retired and moved back to Okinawa. Master
Lloyd competed successfully for several years and was sought after as a draw for tournaments
frequently in his prime. Master Lloyd established dojos in Wyoming, Colorado, California, and
Florida. His students have then spread his work through out the entire country, passing on Master
Nakamura’s and Master Nakayama’s dream.

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The Laramie Kempo Karate Club

Master Amber Travsky began the Laramie Kempo Karate Club in 1985. Her Instructor, Master Stephen Blackburn, had
taught in Laramie for a number of years and had established the Okinawa Kempo School. When he moved to
Washington, D.C., he passed on the club to another black belt but promoted Ms. Travsky to Shodan (1st Dan black belt)
before leaving. Ms. Travsky continued with the Okinawa Kempo club until choosing to establish a separate dojo. Shihan
Blackburn continues as her instructor.

Prior to studying kempo with Mr. Blackburn, Shihan Travsky studied Tae Kwon Do, beginning in 1973, and Tang Soo
Do Moo Duk Kwan, beginning in 1978. She received her Shodan for Okinawa Kempo in 1982, her Shodan in Moo Duk
Kwan Karate in 1985, her Nidan (2nd Dan) for Okinawa Kempo in 1986, her Sandan (3rd Dan) in 1989, her Yodan (4th
Dan) in January 1997, Godan (5th Dan) in April 2000, and Roku-dan (6th dan) in April 2004. In addition, Master
Travsky holds the Roku-dan rank through the Okinawa Kenpo Renmei of America organization, based out of Florida.
Other instructors in the Laramie Kempo Karate Club have experience in styles other than Okinawa Kempo. Mr. Rich
Travsky earned Shodan in Okinawa Te while earning his Nidan, Sandan, and Yodan in Okinawa Kempo.

Laramie Kempo Karate Club Affiliations

Our dojo is affiliated, through Kyoshi Amber Travsky, with:

Lau Hau Kenpo

Soke James M. Lloyd is, and remains, the founder of Lao Hau Kenpo. This system has a seven (7) dan ranking system,
with Soke Lloyd being the only individual with the highest rank. Second in rank is Master Stephen Blackburn as the
senior sixth dan. Sensei Amber Travsky, as well as Sensei Drew Landrus (in Tennessee), also holds the rank of sixth
dan.

Soke Lloyd currently resides in Florida, although he once lived in Wyoming, where Master Blackburn first met him.
Lao Hau Kenpo, or Tiger Kenpo, has as its very basis a focus on good life values – rather than being centered around
kicks and punches.

As stated in the By-laws:

“Be respectful to all, greet each other as brothers and sisters, for even those of lessor ability have a place of importance
with us.”

Sensei Stephen Blackburn started his martial arts training in Cheyenne, Wyoming in 1974 under James Lloyd, then a 2nd
degree black belt. With his instructor’s blessing, Master Blackburn also studied under Michael Mulconery, whose focus
was on a style that combined karate, aikido, judo/jujutsu, and escrima.

Sensei Blackburn joined the military and studied various martial arts styles wherever he was stationed, including a 2½
year stay in Japan.
Sensei Blackburn returned to Wyoming in 1979 where he opened a Tang Soo Do Moo Duk Kwan
dojang in Laramie. Amber Travsky joined his club in 1980 and trained with him in Laramie until he
moved to Virginia in 1984. The club style changed to Okinawan Kenpo style in 1983 when Sensei
Blackburn was promoted to the rank of 3rd degree black belt by Sensei Lloyd.

Through his world travels, Shihan Blackburn has studied and attained ranks in Tang Soo Do Moo Duk
Kwan, Tae Kwon Do, Kajukempo, and Okinawa Kenpo/Kempo.

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What's the difference between Kempo and Kenpo?

The only difference is in spelling. Both Kempo and Kenpo are technically pronounced the same
and both are the English representation of the word "Kempo" which means Way or Law of the Fist.
Generally, most offshoots of Kara-ho Kempo such as Ed Parker's American Kenpo Karate utilize
Kenpo instead of Kempo. William Chow was the first person to use Kenpo to show his break-off
from Kosho-ryu Kempo.

Styles of Kempo
(This is not a complete list of Kempo styles)
Kosho-ryu Kempo - This style of Kempo was brought by visiting monks to the Mitose family
monastery in the 15th century. Over the centuries this form of Shaolin Chuan Fa was blended and
refined with forms of jujitsu that were common in the area. Kosho-ryu (name of the Mitose clan)
not only teaches the hand techniques of Kempo but also includes methods of archery, flower
arranging, rinzai zen Buddhism, and philosophy. The current grandmaster of Kosho-ryu Kempo is
Bruce Juchnik who uses the term Sei Kosho Shorei Kai (S.K.S.K.) Kempo to describe Mitose style.

Shaolin Kempo - The Shaolin Kempo system was formed by Fred Villari a student of American and
Shorinji Kempo systems. Fred Villari's system tended more towards the Kung-Fu element and
utilizes the techniques of 5-animal Chuan Fa to a larger extent than most systems. Added to the
Kempo system was the white tiger Chin Na (grappling) techniques and various new forms.

Kara-ho Kenpo - Founded by William Kwaisun Chow, this was an offshoot of Kosho-ryu Kempo
that was blended with the Chow family 5-animal Chuan Fa. Kara-ho Kenpo utilizes many circular
as well as linear techniques and requires 500 such techniques be learned for black-belt status.
Currently, Kara-ho Kenpo is under the evolution of Sam Kuoha who has added various new
techniques as well as 12 kata based on Chow's original 12 base linear techniques. In the 50's
Chow's system was called Chinese Kara-ho Kenpo Karate but in the 80s he changed the spelling to
Kempo to differentiate his style from other sub systems.

American Kenpo - An offspring of Kara-ho Kenpo, Ed Parker's American Kenpo system is the
largest and most well known Kenpo system in existence. Parker took what Chow taught him and
organized every technique and movement into a format that could be broken down into levels for all
students. Parker felt that the innovations he added to his Kenpo eventually made up 85% of the
system, thus he renamed it American Kenpo. American Kenpo system can be seen in the movies
"The Perfect Weapon" and "Street Knight" staring 4th Dan Jeff Speakman head of the United
Kenpo Karate Association.

Additional Kempo Styles:

Nippon Kempo
Okinawa Kenpo
American Shaolin Kenpo
White Tiger Kenpo

Does Kempo use other weapons aside from its fists?

In Kempo schools, defenses against knives and clubs are seen from yellow belt and up as being the
prime weapons for attacks. Kempo also teaches its students how to use various ancient weapons
with emphasis on 6 main weapon types in many schools. Students can learn weapons in most

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schools from green belt and up although certain schools restrict the usage to black belts. It's
required for students to acquire at least 5 weapon proficiencies by 2nd degree.

Kempo forms
Kempo has many forms with a notable characteristic of having both circular and linear movements
as well as hard and soft techniques. Kempo forms are used to teach speed and coordination of
strikes, as well as various principles such as angling, zone theories, and combination succession.

Black and White Gis

A common conversation is the Gis worn by Kempo students. In most other traditional martial arts
styles, white is the traditional gi. In traditional Kempo schools, all beginning students wear the
traditional black gi, but as they progress they are allowed to wear any gi. It is common for many
high-ranks to wear either a white or a black gi, and at black belt level it is common to mix both
white and black gi tops and bottoms.

Similarities between Kempo and other arts

Kempo and other martial arts have various similarities-primarily because of Kempo's diverse
background and "borrowing" nature.

Tae Kwon Do and Kempo: Many of the aerial kicks and spinning kicks can be found in Kempo.
The crescent and axe kicks are very common as are jumping side, roundhouse, and front kicks.
Also common are jump spinning back kicks, jump spinning crescent kicks, as well as scissor kicks.
After all, TaeKwonDo forms were taken from Shotokan and Okinawa-te, which were both
influenced by Kempo.

Karate and Kempo: Karate and Kempo share the closest similarities in techniques due to similar
backgrounds. Beginner students utilize the hard blocks, and fist techniques of Karate to a large
extent as well as include various circular and soft blocks found in Goju-ryu and Shorin-ryu.
Another similarity is in training, using the horse stance as a training stance as well as the torque of
the hips to create power.

Jujitsu and Kempo: Jujitsu derives many of its throwing techniques from Kempo, primarily its
sweeps, hip and shoulder throws. Recently, many Kempo schools have started to add back the
various loin/reap throws as well as sacrifice throws. Jujitsu has a greater amount of throwing
techniques over Kempo and will most likely stay that way.

Aikijutsu and Kempo: Certain projection techniques found in Aikijutsu originated in Kempo,
primarily Shiho-nage Irimi-Nage techniques as well as en-no-irimi. Like Jujitsu, Kempo took many
projection techniques of Aikijutsu that would fit with Kempo's postures and over-all techniques.

Kung Fu and Kempo: Although Kempo has many origins in Kung Fu styles its evolution has
thrown many of the soft techniques out the window so to speak. The principles derived from
animals (dragon, snake, crane, leopard, tiger, monkey) have been kept as well as key-techniques,
but the overall division of techniques has changed drastically.

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RANK TESTING
Testing Fee: None

Testing Dates: Testing will occur approximately every three months with special testing dates
arranged by the head instructor when needed.

Who may test: All members, both youth and adults, must be approved for testing by Kyoshi Amber
Travsky.

Preparing for a test: It is up to each individual student to be certain of the testing requirements for
their rank. Requirement lists are available from the black belts. It is also the student's responsibility
to discuss with a black belt any test requirement they do not understand or if there is something they
have not been taught.

Test Grading: Each rank test has specific requirements, as described elsewhere in this manual.

To Pass a Test: Passing a test to gain the next rank is at the discretion of the Head Instructor. If a
student fails to pass, an explanation will be provided. In some cases, a chance to meet the
deficiencies in a timely period may be considered.

Testing Frequency: Typically, an adult student is ready to test for their yellow belt after about three
months. This depends greatly on how often they attend class and how much they practice outside
class. Youth students take longer, but can progress through the yellow stripes fairly quickly, though
their progress is much more age-dependant. Once a student reaches an intermediate level (blue belt
and green belt), the time between tests lengthens and can get fairly long as they reach high green
and then brown belt.

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REQUIREMENTS FOR 8TH KYU, YELLOW BELT

For learning new kata, only the black belts or someone they assign can teach new kata. New
kata is not something to teach your friends and it is not something to learn just by watching
another student. Learning new kata is an honor that is earned following promotion to the
next rank.

I. Basic Techniques
1. Hand techniques in a horse stance:
a. Front punch
b. Upper block
c. Lower block
d. Inside-out block
e. Cross block

2. Kicks (from a relaxed fighting stance, stationary)

a. Front kick
b. Side kick
c. Round kick

II. Kumite
Perform the following 5 one-steps. Focus on distance control.
1. Step with right leg at 45-degree angle into shallow horse stance while blocking with
left hand. Punch with right hand and follow with a back-knuckle.
2. Step with right leg to side. Sidekick with left leg. Knifehand with left hand to the
collarbone.
3. Step right leg back into an "L" stance while doing an inside-out block with left hand.
Step right leg toward partner and elbow strike to the mid-section. Add a back-knuckle
to the nose. Make sure you go into an L-stance with this!
4. Step right leg back into a front stance while doing an upper block with the left arm.
Left hand grabs partner's arm and pulls off balance. Follow with ridgehand with the
right arm to the side of the head.
5. Cross block with left arm while stepping in "toe-to-toe" with partner with left foot.
Spin while moving right foot in a circle to outside of partner. Elbow strike to partner's
head or side. Back-knuckle to the head.

III. Kata
1. Taikyoku I (Shodan)
2. Taikyoku II (Nidan)

IV. Free sparring

Spar against at least 2 different opponents without sparring gear. Focus on control and light
contact.

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TEST REQUIREMENTS FOR 7TH KYU, ORANGE BELT

I. Basic Techniques

1. Hand techniques from a horse stance:

a. Knifehand
b. Ridgehand
c. Reverse knifehand
d. Crane’s neck

2. Kicks, from a relaxed fighting stance:

a. Crescent
b. Reverse crescent
c. Back kick
d. Spinning side kick

II. Kata

1. Taikyoku III (Sandan)

2. Naihanchi I (Shodan)

You may be asked to perform other kata from earlier tests.

III. Kumite

1. The original 5 one-steps from the yellow belt test but add techniques to them to make
them more realistic.

2. 5 new one-steps

IV. Self-defense - must perform on both sides

1. Same-side hand grab and walk away

2. Same-side hand grab and control attacker

3. Cross-side hand grab and control attacker

V. Free sparring

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TEST REQUIREMENTS FOR 6TH KYU, BLUE BELT

I. Basic Techniques:

1. Advancing in a front stance:

a. Low block, reverse punch
b. High block, reverse punch
c. Inside-out block, reverse punch
d. Cross block, reverse punch
e. Parry, spearhand
f. Front kick, low block
g. Side kick, low block
h. Round kick, low block

II. Kata

1. Naihanchi II (Nidan)
2. Pinan I (Shodan)
You may be asked to perform other kata from earlier tests.

III. Kumite

15 one-step combinations (you already have 10 from previous tests so you need 5 new
ones). One must be a take-down that is realistic (not just a shove but use the hips for
leverage so you could do a take-down with an opponent of any size).

IV. Self-defense - must perform on both sides

1. Repeat all techniques from Orange Belt test.

2. One-handed lapel grab and control attacker

3. Two-handed lapel grab and control attacker

4. Two-handed wrist grab, release and attack

V. Free-Sparring

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TEST REQUIREMENTS FOR 5TH KYU, PURPLE BELT

I. Basic Techniques:

1. Knife-hands, advancing in an L-Stance

2. Kicking, using the front leg in a stationary L-Stance:
a. Front kick
b. Side Kick
c. Round Kick
3. Jumping Front Kick
4. Kicking combination using the back leg each kick: front kick, sidekick, spinning
sidekick, round kick.

II. Kata

1. Pinan II

You may be asked to perform other kata from earlier tests.

III. Kumite

1. 5 different two-step techniques. Each two-step is a combination of a hand technique

and a kicking technique (either order) and at a target that you designate. For example
you could ask your partner to do a ridgehand to the head followed by a roundkick to the
groin; or a sidekick to the chest, followed by a back-knuckle to the face.

2. Be prepared to perform the one-steps from past tests

IV. Self-defense - must perform on both sides

1. Repeat all techniques from Blue Belt test.

2. Grab from behind, two-handed neck hold, control attacker.

3. Grab from behind, bear hug. Escape, attack.

IV. Free Sparring

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TEST REQUIREMENTS FOR 4TH KYU, GREEN BELT

I. Basic Techniques:
Start in a relaxed fighting stance and do second technique in a spring-style stance
1. Backfist, Reverse Punch (spring style stance)
2. Upper block, Reverse Knifehand (spring style stance)
3. Low block, crane's neck (spring style stance)
4. Inside-out block, palm thrust (spring style stance)
5. Cross-block, upper cut (spring style stance)
Kicks:
1. Double front kick
2. Double sidekick
3. Double roundkick
4. Outside-in crescent kick, spinning heel kick

II. Kata

1. Pinan III (Sandan)

You may be asked to perform other kata from earlier tests.

III. Kumite

A total of 10 two-step techniques. Each two-step is a combination of a hand and a foot

technique.

IV. Self-defense - must perform on both sides

1. Repeat all techniques from Purple Belt test. At completion of each control move, add
minimum of two attacking moves to "take out" your attacker.

V. Free Sparring

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TEST REQUIREMENTS FOR 3RD KYU, HIGH GREEN BELT

I. Basic Techniques:

1. Plum blossom hand drill

2. Jump spinning crescent kick
3. 3 functional combinations - these are drill-type sequences with 3 to 5 moves per
sequence. Move down the floor with each of these.

II. Kata

1. Pinan IV (Yodan)

2. Pinan V (Godan)

Be prepared to explain any moves.

You may be asked to perform other kata from earlier tests.

III. Kumite

1. Three-steps: 5 techniques
2. Two-steps: 10 techniques
3. One-steps: 10 techniques

IV. Self-defense - must perform on both sides

1. Repeat moves from Green Belt test.

2. Same-side, one arm grab of shoulder. Control and attack.

3. Two-arm shoulder grabs. Control and attack.

V. Free Sparring

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TEST REQUIREMENTS FOR 2ND KYU, BROWN BELT

I. Basic Technique:

1. Flying sidekick

2. 5 functional combinations of hand and feet techniques. Be ready to show these to the
class and explain them in a teaching situation in a class after the test.

II. Kata

Naihanchi III (Sandan)

You will be asked to perform other kata from earlier tests.

III. Kumite

1. Three-steps: 5 techniques
2. Two-steps: 5 techniques
3. One-steps: 5 techniques

NOTE: ALL TECHNIQUES COME FROM KATA. BE ABLE TO ILLUSTRATE WHICH

KATA THE MOVES COME FROM.

IV. Self-defense - must perform on both sides

1. Repeat moves from High Green Belt test. Add more realism to attacks.

2. Be prepared to show releases from any attack.

V. Free sparring

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TEST REQUIREMENTS FOR 1ST KYU, HIGH BROWN BELT

I. Basic Techniques:

1. Functional combinations - 5, all originating from kata

2. Jumping crescent kick
3. Jumping reverse crescent kick

II. Kata

Hangetsu

You will be asked to perform other kata from earlier tests.

III. Kumite

1. A combination of one, two, and three-steps for a total of 20 combinations.

IV. Self-defense

1. Perform grabs and releases as an opponent attacks with random techniques.

IV. Free sparring

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TEST REQUIREMENTS FOR 1ST DAN BLACK BELT - SHODAN

I. Basic Techniques

Basic techniques will focus on teaching drills. This will not be a part of the test but you will have to
teach class on a number of occasions prior to the test to demonstrate the techniques.

II. Kata

1. Bassai

Be prepared to show ALL kata.

III. Kumite

Be prepared to demonstrate one-, two-, and three-step techniques. You will be asked to teach these
drills to the class prior to the test.

IV. Self-defense

Be prepared to demonstrate grabs, releases, and other self-defense techniques to the class. You will
teach the class these techniques prior to the test.

V. Free sparring

VI. General Martial Arts Knowledge

Be prepared to answer questions concerning the history and origin of the martial arts. Also, some
thoughts into philosophy may be asked.

Testing for Shodan is based much more on attitude, motivation, self-discipline, and focus
rather than the beauty of kicks and special techniques. A true Shodan is in the heart, not in
the feet.

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TEST REQUIREMENTS FOR NIDAN, 2ND DAN BLACK BELT

I. Teaching

Much of the basis for this rank is on teaching. With teaching comes the acknowledgement that you
are here not only for yourself but, also, to help others. Passing on your knowledge to others is the
focus of this rank.

II. Kata

The focus on this rank is in the use of weapons. You must learn kata using a minimum of
three different weapons.

1. Bo form #1

2. Sai form: Pinan Shodan

3. Sai form: Pinan Nidan

The other two kata are not specified. One must be a different weapon not already used.
Weapons you may select include the kama, tonfa, nunchaku, bo, sai, sword, escrima sticks,
etc. You may end up picking up traditional kata from other styles or you may adapt one of
our kata to a weapon.

III. Other test requirements will be based on the individual and at the discretion of the Shihan.

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JUNIOR AND SENIOR BELT SYSTEMS

The Laramie Kempo Karate club recognizes both Junior and Senior ranks. All students
under the age of 15 will test as Juniors. Junior belts are the same color as the Senior system except
that a black stripe runs the length of the belt.
The reason for having two systems of ranking is to be fair to the Junior students. It is not
fair to expect a five year old and a 25 year old to perform the same. That doesn't mean that one will
try harder than the other will. Effort has nothing to do with age. But there are physical differences
that, if there were only one system, could prevent a Junior student from progressing through the
ranks. The test requirements are the same for Junior and Senior ranks. When a Junior student
reaches the age of 15, he or she must retest into the Senior ranking system. Their rank in the Senior
system will be based on the test and their class performance. It is possible that belt color will
change when a student passes from the Junior to the Senior systems.

WORDS WE USE

Karate (kah-rah-tay) "Empty hand"

Kempo "Way of the fist"
Training hall Dojo
Training uniform Gi (pronounced gee)
Instructor Sensei
Master Instructor Shihan
Forms Kata
Attention Cha Ryut
Bow Kung Ret
Ready Stance Choon Bee
Begin Seeja (Korean) or Hajime' (Japanese)
Yell Kiai

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COUNTING:

English Korean Japanese

One HaNa (hah-nah) Ichi (eechee)

Two Dool (dool) Ni (nee)

Three Set (set) San (san)

Four Net (net) Shi (shee)

Five Taset (taw-set) Go (go)

Six Yoset (yaah-set) Roku (row-koo)

Seven Il Gop (ill-goop) Sichi (see-chee)

Eight Yo Dul (yahl-dool) Hachi (haw-chee)

Nine Ah Hope (ahh-oop) Ko (coo)

Ten Yohl (yaah-ool) Ju (jew)

ATTENDANCE AWARDS

The Laramie Kempo Karate Club awards attendance stripes in the Junior class only, to be put on the
upper sleeve of the gi, for every 50 classes a student attends.

To Earn the Award:

A student must attend 50 classes.
To get attendance credit, a student must sign-in for each class. One class attendance is attained for
each day a student attends, regardless of the time spent in class.

If a student does not attend for a period of 6 months but returns to class, the class attendance count
starts over.

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DOJO (TRAINING HALL) RULES
DO'S DON'TS
1. Bow at the dojo entrance prior to coming 1. Don't enter dojo unless and adult is
into the room. Take shoes off before present.
entering.
2. Don't wander around the building before
2. Before and after class, stay within the or after class.
entryway next to the dojo.
3. Don't wear jewelry including watches,
3. Come to class with a clean and neat gi. earrings, or rings.
Have t-shirts tucked in and belt tied
correctly. 4. Don't kick, punch, or harass other
students. No sparring in the dojo without
4. Treat other students and instructors with the permission of a black belt.
respect. Stop whatever you are doing
when a black belt enters the room and 5. Don't lean against the wall during class.
bow to them.
6. Don't use any profanity or mean
5. Do spit out gum before starting class. language during class.

6. If late for class, do wait in choon-be next

to the class, until bowed in by a black
belt.
Any person using excessive force against another student or instructor may not be allowed to
return to the club if the actions persist. We are all here to learn the martial arts - not to hurt our
fellow students.

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MY JOURNEY IN THE MARTIAL ARTS

by Shihan Amber L. Travsky

Asking new students why they start kempo There was a time when I got bored with it all. I
typically results in responses such as, "to learn struggled to come to class and forced myself to
self defense", "to learn self discipline", "to get practice. That passed, though, and my enthusiasm
exercise and become more fit." was rekindled as I found my favorite aspect of the
Most likely, you started because of a similar martial arts: teaching.
reason. Your purpose for studying the martial I now see the study of the martial arts as much
arts may change with time. Back in 1973, as a more than just a fitness program. Sure, it is great
high school student, I started karate because my for maintaining flexibility and conditioning, but it
ballet teacher retired and I couldn't find another is much more. It has become a part of me. I don't
ballet class. So, I went into Tae Kwon Do. I do the martial arts; I am the martial arts. By that,
started mostly out of curiosity and a desire for a I mean, martial arts is also about myself as I learn
good workout. Little did I realize I was starting a to deal with unpleasant situations; as I am
long and exciting journey in the martial arts. confronted with life situations that I seemingly
Martial arts aren't for everyone. Many people cannot control.
put on a white belt and end their study before For example, if I have a situation where a co-
they ever reach yellow belt. Others get to black worker is being rude or unkind towards me, or
belt and decide that is the end. who is literally driving me up a wall, I try to
Getting to black belt is not the end of the accept that without having it affect my mental
journey. It is merely the beginning of a serious outlook. I cannot control what they think of me; I
study of the martial arts. A Black Belt is the cannot control their actions. All I can control is
symbol of a serious student - someone who has my own response and how it affects me.
made a commitment to the study of the Art. In the mid 1990s I served as Mayor of Laramie.
Typically, black belt is also the beginning of In that office, I had to be around people who were
being in the dojo for reasons other than you. A fairly rude towards me. It was very difficult to
person wearing a black belt passes on his/her accept at first. I can't say, even today, that I find
knowledge and is in the dojo to help others. it easy to accept. I strive to maintain a positive
I have passed through many phases in my outlook and to ignore their insults and cutting
personal journey. As I mentioned, I started remarks. It has been a difficult lesson to learn.
mostly for the workout and the challenge. After But, this lesson, in my mind, has been as much a
about four years, I moved to Laramie and part of my martial arts training as learning a
switched to the Korean art of Tang Soo Do Moo sidekick.
Duk Kwan, with Sensei Stephen Blackburn. I strive to be the best I can be, not only in a
After about five years, our club switched to physical sense, but in other aspects, too. I try to
Okinawa Kempo. live "the moment", where I don't dwell on the
At one time I enjoyed competition and had a past, recalling things I wish I had done
desire to test my skills in tournaments; during differently; and, although I plan for the future and
another phase, my primary focus was to progress look forward to it, I try not to dwell on it to the
through the ranks and to learn the skills necessary point where I forget to "smell the roses" today.
for each promotion. I loved the challenge of There are fundamentally different perspectives
learning new techniques and getting promoted on what the martial arts is about. The following
through the ranks. I focused on the self discipline quotes illustrate the difference:
and I thrived on pushing myself to do my best.

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"Whenever you cross swords with an enemy you "To subdue the enemy without fighting is the highest
must not think of cutting him either strongly or weakly, skill."
just think of cutting and killing him. Be intent solely - by Gichin Funakoshi
upon killing the enemy." (from Karate do - My Way of Life)
- by Miyamoto Musashi, a 15th-Century Samurai
(from A Book of Five Rings)

These quotes contrast different ways of The intent of the Art of the martial arts is to
dealing with conflict; they are also the basis give one the opportunity for self-discovery.
of two radically different approaches to the Where the more violent approach in karate
martial arts. One approach lays the develops the tough hide of invulnerability, the
foundation for violence and increased Art of the martial arts fosters flexibility,
aggression under the guise of self- suppleness, and sensitivity - and this is a great
improvement, while the other nurtures self- strength. Real personal power comes from
understanding and intelligence. being open, questioning, being susceptible to
Which is right? I can't answer that for oneself and others. Only a false sense of
anyone except myself. However, I do feel power can come from the other perspective.
there is on over emphasis on the first
perspective. Coming from a desire for Think of yourself as a calm pond. Strive to
personal power, many individuals focus on keep it calm and serene. Situations in our
aggressive fighting skills. This view of lives are like pebbles being thrown in the
martial arts, which is violent, militaristic, and pond. How much it ripples is up to you.
egotistic is a popularized romantic view How many ripples you try to create in other
exploited in both movies and magazines. people's ponds, is also up to you.

I feel it is a perverted misapplication of what

is, in essence, a way of life devoted to
developing sensitivity and understanding.
Rather than focusing on lethal self defense
techniques, and conquering and "killing the
enemy", and proving one's self through
competition, the ART of the martial arts is
concerned with understanding violence,
"subduing the enemy without fighting",
thereby creating the means of going beyond
conflict.

"The ultimate purpose of karate is to develop the better features of human character rather than
merely to strengthen human beings against physical enemies." - Masutatsu Oyama

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THE TRUE MEANING OF THE BLACK BELT

Black belt testing is a very rare event. It means coming to class even when you'd
The Laramie Kempo Karate Club believes rather do something else.
there is much more to being a black belt than It means walking away when someone
having fancy kicks, being able to break picks on you, even though you know how to
boards, or winning trophies at a tournament. fight. It means realizing that, no matter how
It is about the martial art spirit. It is what is much you practice, and how hard you try,
inside that makes a black belt - though you must always try harder.
knowing kata and doing good punches and Being a black belt means realizing it is just
kicks is important. a beginning, not an end. It is the beginning
Being a black belt means doing your best to of being a serious student of the martial arts.
become a better person. It means doing your It is not about bragging. It is not about
best to make the world a better place. It strutting around.
means trying your best to be the best you can You must learn humility - the opposite of
be and helping others to be their best. being a showoff. Humility is much more
It takes years of dedication. It means difficult to master than a fancy kick or
practicing even when you don't want to. sparring. It is the true meaning of the black
belt.

WHAT IS SELF DISCIPLINE?

In The Martial Spirit by Herman Kauz, he teacher serves to carry each individual along.
discusses the topic of discipline, especially as it Those who attend class only once or twice a week
relates to kata or forms. The following excerpt is and who must practice alone for a period of time
from his book: each day have a more difficult time of it. It is
"By 'discipline' I mean developing the ability to true that beginners usually throw themselves into
do something each day which is not always training with enthusiasm. But when this initial
pleasant and about which one is not always flush of enthusiasm begins to fade, they need help
enthusiastic. It is easy to engage in some activity in establishing a steady pattern of training.
which excites and which we like. However, even Gradually, however, students fall into the habit of
though we have made up our minds to live in a training at certain times of the day. If for some
certain way, we will encounter many days or reason, they are unable to train, they feel that
perhaps weeks when we are less than eager to do something has been left undone. Once a certain
the work connected with our choice. If we momentum of practice has been established, it
practice on only the days we really want to, our becomes easier to do one's prescribed period of
progress will be extremely slow. In addition, we training than to avoid it."
are apt to stop our training altogether, because the
particular form we are doing becomes easier with Kauz, Herman. The Martial Spirit - an introduction to the origin,
philosophy, and psychology of the martial arts. 1977. The
daily practice and more difficult when it is done Overlook Press; Woodstock, New York.
infrequently.
Spending a certain portion of each day in
practice, the results of which are not quickly
evident, is difficult. Those students who enroll in
a school of martial arts, which holds daily classes
are fortunate, because once the class begins they
are swept along in the general procedure. The
energy generated by fellow students and the

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