White Crane Kenpo


Soke Hoover Articles:




By Grandmaster Reginald Hoover
10th Degree Black Belt / Kenpo-Jujutsu:

Copyright 2004-08 © Soke Reginald Hoover; All Rights Reserved By Dragon Kenpo Karate Consortium

First, I will attempt to shed some light on the assumption of Dragon Kenpo Karate being some type of watered down system of the American Kenpo Karate Lineage! This assumption cannot be considered true, even if all DK instructors and masters wanted it to be.
Let us know consider the facts about the Ed. Parker American Kenpo System, in which a large majority of all kenpoists associate themselves with. Please examine the following realistic analogies within the Ed. Parker American Kenpo System;

American Kenpo Karate was developed and created by Grandmaster Ed. Parker and his senior kenpo students years before the Ed. Hutchison System was though of: The American Kenpo System acknowledges the lineage of only one Grandmaster to it’s Shaolin heritage. This Grandmaster was William K.S. Chow and no other. Grandmaster Chow combined what Kung Fu he had learned with the teachings of his Grandmaster. This Grandmaster was James Mitose. Great Grandmaster of Kosho Ryu Kempo-Jiu Jitsu. Even though it can be assumed that Chow taught and promoted Ed Parker in the basics of his fused Kosho Ryu / Chinese Kung Fu style of Kenpo; it is fact that Ed Parker never acknowledged Chow’s teacher. Thus, upon Parker’s promotion to Black Belt by Chow, ending Parker’s association to the Mitose lineage. This same disassociation can be considered by current Ed Hutchison Dragon Kenpo practitioners; even though Grandmaster Hutchison is considered an Ed Parker Lineage Black Belt through his teacher; Grandmaster Jay T. Will. Thus, Dragon Kenpo Karate Instructors and Masters can trace their lineage, only as far as Jay T. Will if they so choose. American Kenpo Karate consists of specific martial concepts, theory, forms, techniques, and methods which make the Parker System suitable for competition as well as street combative application. American Kenpo Karate emphasizes controlling the opponent’s center in failing the attack. This Centerline Theory is a major trademark of the American Kenpo Stylist. American Kenpo Karate also tends to encourage within it’s ranks of mastery, the art of Speed Striking. This speed striking / hitting ability has become a universal trademark of Modern Self-Mastery among practitioners of all Kenpo Styles, and tends to be expected of all style higher ranking Masters; be they, Chinese, Okinawan, Tracy, Shaolin, And Dragon, etc, alike. Therefore, particularly partially defining the Mark and Standard Of Any Master Of The Kenpo / Kempo Arts:

Now, let us consider the Ed. Hutchison Dragon Kenpo Karate System. The parallelism of disassociation within both the AK and DK systems concerning choices in tracing each system’s lineage to a specific grandmaster or grandmasters reveal sadly the distance and disrespect of association between these individual camps themselves. The American Kenpo rank and file, typically does not acknowledge Dragon Kenpo Karate as an equal street combative style based upon Grandmaster Ed. Parker’s basic adaptive principle of Tailoring, which is one of many others within their own! Many Dragon Kenpo Stylists have been blinded and delusioned by this same lineage question. Fact is, yes, The Ed. Hutchison Dragon Kenpo System is indeed a part of the Ed. Parker Kenpo Lineage. However, it is not fact that the Ed. Hutchison Dragon Kenpo System is an offshoot of Ed. Parker American Kenpo. Nor was it in any way, or fashion, intended to be a form of the American Kenpo System. Thus, since the Dragon Kenpo system is in fact based upon the Ed. Parker Tailoring Principle; it does give the DK Instructor and Master borrowing, not stealing rights within the basic concepts and methods of the American Kenpo System as Kenpo Instruction Tools. This understanding has mislead many DK Instructors into believing that they were and are teaching some raw form of the Ed. Parker American Kenpo System. Several have even gone as far as including the whole AK 16 Technique teaching method or parts of it in their respective DK Programs! Other’s still have included the AK short and long forms as part of their respective DK programs. This is in fact, out right stealing of the American Kenpo Systems’ core techniques, principles, and methods!

Therefore, these Dragon Kenpo Programs are neither teaching Ed. Hutchison Dragon Kenpo Karate, nor Ed. Parker American Kenpo Karate. This is also not saying that Forms, or Kata cannot be developed by the Dragon Kenpo Instructor and Master specifically for improving their respective student’s Street Combative Execution and Application Skills. Yet, these forms need only be considered supplemental strength and motion developmental aides within the DK Programs and not Core defensive techniques of the art.

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The New Black Dragon Kenpo Karatejutsu




Soke Reginald Hoover


Judan Kenpo-Jujutsu



Welcome to the Consortium’s lecture series. In this article, I will try to reveal the nature
of Dragon Kenpo as it applies to street combat within our present era and express some
thoughts concerning it’s future as a well defined system.
First let us consider Dragon Kenpo’s present state of existence within the kenpo arts community. Through conversation and research online etc, i have considered the following reasons why Dragon Kenpo is having it’s critics give unfavorable reviews. They are as follows:


    1. Martial artists which review the system, review assuming that the understanding of DK’s physical technique street application is as an EPAK Off-Shoot!
    2. Martial artists consider the system too redundant in it’s applications against violent physical aggression and as a complete martial arts system!
    3.  The Dragon Kenpo lineage seems to mislead the new and not so new present day practitioners  into assuming that they are or will be learning either the Tracy or Parker systems of kenpo!
    4. The online encyclopedias which define Dragon Kenpo, define it as an ‘American Kenpo Off-Shoot’!

E.        Finally, the Dragon Kenpo instructors which teach the system tell their students
          and prospective students that they will be learning the Tracy or Parker or a little
          of both systems; in some form or another which merits notice.
Note: This last statement does not apply to all Dragon Kenpo instructors including
           myself. Yet, it does suggest that there is at least a handfull of current 
           instructors which consider themselves leaders within the kenpo arts
           community which believe that DK is some kind of Tracy and / or American 
           Kenpo Off –Shoot.
Today, there are even ongoing Dragon Kenpo wars of back-biting and slander among
Camps as to what instructor is going to control the DK system and promote in the
style name of Dragon Kenpo. One also can safely assume that these controlling 
instructors are the leaders in providing false information to the kenpo community by 
calling Dragon Kenpo an Off-Shoot of American Kenpo. 
If, at this time, I may personally interject, to shed some light upon this darkness that 
glooms on DK?  The fact is that from all of my personal conversations with 
Grandmaster Al Tracy of Tracy Kenpo. There was not one mention of the Ed. 
Hutchison DK system being even similar to their Traditional Kenpo, American 
Kenpo, Chinese Kenpo or the EPAK system by old, present or any new definition! 
Grandmaster Tracy only verified that GM Ed. Hutchison trained under GM Jay T. Will 
and promoted at least one student within the Tracy Camp. It now would be safe to 
to assume that this student was not promoted in Dragon Kenpo. Yet, was promoted


    “Collins, Mark  B-3176-106  11-23-99  Ed Hutchison”      
    in either Traditional, Chinese, or American Kenpo as it was taught to him by GM
    Jay T. Will. Since GM Will was also a high ranking Tracy black belt. It is also obvious


   that Ed. Hutchison trained in at least Traditional or Chinese Kenpo as it was taught by


   the Tracy Camp by claiming the Tracy Lineage and having the ability to promote


   within the Tracy Ranks as a Tracy Black Belt!


Thus, Ed. Hutchison could claim the Parker Lineage Of American Kenpo  and the Tracy


Lineage of  Tracy Kenpo, American Kenpo (as the Tracy Brothers taught), Traditional Kenpo , and Chinese Kenpo under Jay T. Will.


So, what is Dragon Kenpo? First, let us define Dragon Kenpo by what it is not. It should be now obvious that Dragon Kenpo is not Traditional Kenpo ( even though if you would pick a likeness to it; Traditional Kenpo would be the likely choice). This, is due to the fact that this style of kenpo did borrow from the jujitsu and judo arts in stand-up as well as ground fighting techniques. Actually, Traditional Kenpo was composed of [ “There are over 700 break-away (escape) techniques, and defenses against punches, strikes and kicks, most of which incorporated the circular movements found in Jiujitsu, and there are 300+ Jiujitsu break away, restraints, nerve grabs and locks, dislocation, joint locks and breaks, and ground techniques; as well 72 Kenpo kicks, and 16 kicks that had been adopted from other systems. Yet those in American Kenpo claim the Japanese system did not have any circular moves, that the circular moves were only put into the new Chinese systems. Oshita, who was Japanese, taught every move that Ed Parker taught, and then some, and the circular Kenpo moves were in the techniques before anyone in Hawaii ever learned Kenpo” ]:


Dragon Kenpo is definitely not any version of Parker American Kenpo. Dragon Kenpo is not Tracy Kenpo or any of the other Tracy styles of Kenpo, [ American or Chinese Versions or Off-Shoots]!  









Soke Articles: What Is Dragon Kenpo?

The History of Dragon Kenpo:

Dragon Kenpo was founded in 1992 by Mr. Ed Hutchison, and is recognized by the United Kenpo Karate Association. Mr. Hutchison, who is a former police officer, holds a 4th degree black belt in American Kenpo, along with a Red Sash in Shaolin Kung Fu.

The Path of Dragon Kenpo: "The true Kenpo master is not just a master of fighting, but a master of himself." Dragon Kenpo builds upon Ed Parker's tailoring principle, which states that a student learns by their own abilities. In essence, every student creates their own unique art form. However, Dragon Kenpo strives to enhance the talents of each student, and to expand their personal development.

Thus, Dragon Kenpo eliminates this idea of preset limits among it's higher Dan level practitioners and allows unprecedented physical expressive freedom within form, motion, and technique.

So, the Dragon Kenpo stylist can create his/her own prerequisite forms, rearrange set motion principles for maximum street combat effectiveness, create new working motion ideas , concepts, and methods for the same set principles or add new creative principles which will work best alongside the original set and not be claimed as a non-practitioner of the original art. The total exercise of infinite martial physical expressive freedom exist's within this street combat system.

This suggests that below it's surface, Dragon Kenpo can physically express it's own conceptual methodologies within the Tuite, Tode, Karatejutsu, Jujitsu, Aikijitsu, Aikijujutsu, Chen Na / Kwam Na, Animal Styles, extensions and projections of it's older Japanese and Chinese versions!

Therefore, Dragon Kenpo not only suggests, but was created by it's Founder, Grandmaster Ed. Hutchison for freedom of individual self-mastery in conceptual and methodological growth in the attainment of intended unprecedented physical expressive skill levels within the street combat application of the art.

Thus, Dragon Kenpo cannot be an offshoot of American Kenpo!

Category; Kenpo-Jujutsu:


Combat Kenpo Labs:










1. Upward block with both arms, using forearms of free hand under attacker's extended forearm;


2. Pull attacker's elbow down into your free forearm to break, (Pull down with handshake hand and upward with free forearm);


3. Free arm elbow to attacker's ribs;


4. Take attacher to ground by shoulder;


5. Return to ready stance;






What concepts and principles are taught in this technique?


What variations of this technique do you use?


What do you think of this technique?





Blue 1 is a good technique for understandimg the opposite hand/free-hand check for defense against the countering free-hand and leg of the attacker. If he/she can position themselves for a strike by placing their opposite (trial) leg forward, then tey can counter with a kick to your lead leg ankle, or knee. They also can counterstrike to the defender's rib cage area. The trick here is for the defender to quickly rotate the attacker's wrist counter-clockwise(if right hand is being setup) and clockwise(if left hand is being set up) as the double hand rising block is being initiated. The quick wrist twist will position the attacker's body slightly angled with his/her weight placed on the lead leg to expose more of the high ribcage area. The attacker's possible check hand will also be set-up at a greater distance from the defender.


This gives the smaller defender a greater advantage in exploring some of the following finishing possibilites;






1. Break Elbow & Back Knuckle Fist to Ribcage;



2. Break Elbow & Pull Attacker Slighly Forward; Reverse Elbow Strike Attackers Ribcage Area;


3. Break Elbow; Pull Attacker Slightly Forward Into A Trail Leg Thrust Kick To Attacker's Knee, While Defender Steps Forward With Other Opposite (new positioned trail leg), Leg Placed Behind The Broken Knee Leg And Throw Attacker Over The Leg Behind The Attacker:




1. Raise Left Forearm / Palm-Heel Break assaulter's Elbow and Quick Wrist-Twist with your Right Hand, trapping the attacker's right hand set-up;


2. Execute quick left inside waist-twisting Downward Inside Left-Hand Parry of attacker's very likely left-hand counter across his / her body to your ribcage:


3. Whip waist in reverse outward and deliver a hard Left Reverse Elbow to attacker's middle rigth side frontal ribcage area;


4. Quickly pull attacker slightly forward and deliver a vicious Right Trail Leg Thrusting Stomp Kick to attacker's right knee, breaking it, and slightly moving stomping leg back to trail position as you;


5. Finish by quickly contouring your left hand up the attacker/s broken trapped right arm and execute an adjusted cross over the palm up side of the trapped hand while repositioning your right hand over the left, placing attacker in hard palm forward wrist lock;


6. Simulteaneously hard quick twist attacker's right wrist counter clockwise angling downward stepping your left leg behind you into a Jigotai Dachi (Wide Legged Stance) as you Hard-Twist your Waist left / angled wrist-twist left, hard falling to right knee; stopping as your right knee lowers to the height of your left knee; tearing the attacker's elbow ligaments as he/she flips over the broken knee. Assume ready position, covering out and escape!





4. Break Elbow, Lead Leg Thrust Kick To Attacker's Knee And Contour Down Broken Leg At Knee And Stomp Attacker's Ankle, Breaking It. Grabbing Attacker Shoulder, Pull Attacker In This Same Direction While Stepping Out In An Angled Direction Of The Falling Attacker While Executing A Ripping Slashing Knee To The Attackers Falling Frontal-Side Ribcage Area As He/She Is Pulled/Thrown To The Ground As The Defender Releases The Attacker's Hand And Executes A Downward Elbow, Knife-Hand Transormation Strike To The Attacker's Back-Side Neck Area While Beginning The Escape!






From my perspective, blue 1 is all about learning how to check your opponent without aggressively blocking a potential strike. However, I believe that the technique is flawed in the direction of the check:


1. The technique demands that you use an upward block, this checks height and perhaps depth, but it doesn't check width. It is possible for that assailant to attack with a semi-efficient strike:








The technique is not flawed even with the checking motion. Most tend to look at attacking the centerline of the attacker; whereas if the blocking motion is done from the outside looking in you find a whole new ballgame starting:




1. The attacker's arm is already set up from the lift;


2. If the right hand shake is used, then the attacker's right side is already set-up at the wrist twist (this is used to position the attacker's body weight as a concentrated load on the hand shake leg and keep it there; the attacker's body at the right shoulder and waist will then turn left and away from the set-up; thus limiting any possible counter by the attacker;) for virtually any type of left hand counter-striking motion, as well as several looping, and thrusting stomping kicks;


3. If the wrist is not twisted then the technique will be only partially effective and the attacker's body will be positioned for several possible counters to the defender's counter: