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.
When employed simultaneously, these three major principles allow Kokondo-ka to respond automatically and effectively with a self-defense strategy that is fast, effective and appropriate for the situation. The importance of kata in Kokondo cannot be overstated, for it is in these kata that the techniques, principles and applications converge. For a description of the
kata in Kokondo Karate, please click here.
Text and Photographs Copyright 2003 by Daniel and Scott Cohen and may not be used without expressed written permission of the authors
