It is estimated that in 520 BC during the time of the Southern dynasties Bodhidharma entered China and traveled northward to the kingdom of Wei where the fabled meeting with emperor Wu of the Liang dynasty occurred. This meeting is recorded as an intense conversation and discussion of Buddhism and dhyana. For Bodhidharma the meeting was to no avail; his words to the worldly emperor meant nothing. Disappointed, Bodhidharma left the palace of the emperor and traveled to the Honan province where he traveled to the Shaolin temple to continue teaching.

Bodhidharmas' depression grew once he reached the famed Shaolin temple, for Prajnatra's story was true. The monks were in a ragged condition and were physically and mentally unfit due to the large amounts of time the monks spent in meditation and doing little else. Many of the monks would fall asleep in meditation while others needed assistance in the basic necessities of life - so feeble was their condition.

For an unknown period of time Bodhidharma meditated in a cave at the outskirts of the temple seeking for a way to renew the spirit of Buddhist teaching, as well as letting the monks regain control over their lives. Upon his return Bodhidharma began training the monks in the courtyard. From the strong to the feeble he started to explain and work with them in the art of Shih Pa Lo Han Sho, or the 18 hands of Lo Han. These techniques which are the foundation for almost all martial arts today were never originally intended to be utilized as methods of fighting but were a manner in which the monks could attain enlightenment while preserving their bodies' health.

During the Sui period, approximately forty years or so after the death of Bodhidharma it is told that brigands assaulted the Shaolin monastery; one of many attacks that would occur until the early twentieth century. During this first invasion, the monks attempts at defending their temple were futile, their skills were not attuned to fighting techniques and it looked as if the temple would fall. A monk of the temple referenced only as the "begging monk" during the last siege of the temple by the brigands attacked several of the outlaws with an array of aggressive hand and foot techniques, killing some and driving the remaining attackers away. The other monks were so inspired by the display of this single priest that they requested tutelage in this martial style as a means of protection. In later scripts this fighting art was recorded as Chuan Fa or Fist Method. Chuan Fa translated into Japanese is Kempo, or in English is "Fighting Methods" or "Fighting Laws." This is the basis of most of the Martial Arts in the world today, especially the Asian ones.

Over several decades the fighting arts of the Shaolin temple grew and were said to prosper to over 400 styles in all over the next several centuries. Several decades after the fight of the begging monk, a master of Chuan Fa called Ch'ueh Taun Shang-jen was said to have rediscovered the original Shih Pa Lo Han Sho which had been lost for many years. Ch'ueh over a period of time integrated his art of Chuan Fa with that of Lo Han increasing the total number of techniques from the original eighteen to total of seventy-two. For several years after this period Ch'ueh traveled the country side of China promoting his art in several grueling fighting matches until he came upon a man named Li in the province of Shensi. Li, a master of Chuan Fa as well as other martial ways (including rumors of Chin Na) traveled and trained with Ch'ueh for some time developing the curriculum of Chuan Fa to form a total of one-hundred and seventy techniques. Furthermore, they categorized these techniques into five distinctive groups distinguished by various animals who instinctive reactions best reflected the movements of this new Chuan Fa. Upon there return to the Shaolin temple of which both Li and Ch'ueh belonged they presented to the other monks wu xing quan, the five animal form and brought to the Shaolin temple a new stage in martial arts evolution.

Over the next several centuries the history of Chuan Fa and its advent to Kempo is ragged in its tales and difficult to gain accurate descriptions. There are stories that the ancient Pankration fighting of the early Greek Olympics found their way into China to be incorporated into the Shaolin Chuan-Fa (Shaolin Kempo) and many other intriguing but unverifiable claims.

What is known is that the art of Chuan Fa remained and is still practiced in China, but its teaching also found its way to Okinawian Islands and the Ryukyu kingdoms as well as Japan. In both places, the art was referred to as Kempo or Law of the fist. Between the Sui and Ming periods (an 800 year gap) it is considered that many a wandering monk traveled across Japan and Okinawa bringing with them a working knowledge of the art of Kempo which explains its wide-spread distribution. The art of Chuan Fa which translates into Kempo would have been taught as a supplement to the daily spiritual training the monks endured. Many of the monks would often choose disciples or teach at various Buddhist temples bringing forth the word of Buddha, and the power of Chuan Fa. From there the art of Kempo could easily spread among the commoners and nobles alike.

At some time in the earliest history Kempo traveled to the region of China that would eventually become Korea, and much like in Japan and Okinawa the local culture adapted the system to fit their tastes. In Korea and around the world to this day Hapkido and Hwarang-do are Kempo systems, with tae-kwon-do being introduced after world war II as a popular sporting branch of these systems. In Brazil, from just one Kempo master who traveled there, the grappling arts of Kempo have been expanded into a sporting form of Jiu-Jitsu which is as popular in Brazil as the stand-up parts are in Korea and Thailand, and as boxing is in the west.

Another reason for the expansion Kempo can be seen in the numerous trips the Japanese and Okinawians made to China to learn the fabled art of Chuan Fa. Some people would disappear for many years, presumed dead by their families, only to resurface as a master of Kempo and other martial arts. One such man was named Sakugawa. Sakugawa lived in the village of Shuri on the island of Okinawa and traveled to China during the 18th century to learn the martial secrets of the Chuan Fa masters. For many years Sakugawa had not been seen and many believe he had died in his journeys, but after much time he did return, much to the surprise of his kin. Sakugawa has learned the secrets of Chuan Fa and had become a master of some repute himself. Over many years of refinement the art Sakugawa had learned slowly was renamed to Shuri-te and is considered the predecessor to many forms of modern Karate.

Another member of Shuri, Shionja also traveled to China as Sakugawa did but on his return in 1784 brought with him a Chinese companion named Kushanku. Both men brought with them the art of Chuan Fa which they had studied together in China and began to demonstrate around Okinawa. It is believed that Kushaku and Shionja had a greater influence on Okinawian Kempo styles than any other martial artist.

Unfortunately, the evolution of Kempo in Japan is just as abrupt and mysterious although a flurry of attention on the art was brought during the reign of Hideyoshi Toyotomi's plans of conquering China. It is referred to that many a Samurai on their return from China whether during or after the war brought with them extensive knowledge of Chuan Fa and throughout the years modified it to include their own arts of Jiu-Jitsu and Aikijutsu and it is at this state where the greatest evolution of Kempo takes place since the time of Li and Ch'ueh.

At the beginning of the seventeenth century two families, Kumamoto and Nagasaki brought knowledge of Kempo from China to Kyushu in Japan. This art was modified throughout many years into its current form which is referred to as Kosho ryu Kempo, or Old Pine Tree school and it is from here that most modern forms of Kempo are derived. In 1916 at the age of five, James Mitose was sent to Kyushu from his homeland in Hawaii for schooling in his ancestors are of self-defense called Kosho ryu Kempo. For fifteen years he studied this art which was a direct descendent of the original Chuan Fa. After completing his training in Japan, Mitose returned to Hawaii and in 1937 opened the "Official Self-Defense" club in Beretania mission in Honolulu. It was here that the five major Kempo influences; Thomas Young, William Chow, Edmund Howe, Arthur Keawe and Paul Yamaguchi would study and bring Kempo to the world.

In 1934, before Mitose's return to the United States, the term Kempo-Karate was first used. In an issue of Yoen Jiho Sha newspaper an advertising for the visit of Chogun Miyagi, a famous karateka and founder of Goju ryu karate do, to the island of Hawaii. The use of the two terms is under speculation. Some suspect it was simply an advertising scheme while others believe that Chogun Miyagi's Goju ryu was actually a pure form of Kempo, and that the term karate was simply more well known.

William Chow is perhaps responsible for the largest leap of Kempo to the general public. William K.S. Chow studied Kempo under Mitose for several years and previously had studied his families art of Kung Fu. Chow united, like many Kempo masters before him the arts of Kosho ryu Kempo and his family Kung fu to form a new art which would eventually be referred to as Kara-ho Kempo. In 1949, Chow had attracted a number of students to his own teachings and opened a dojo of his own at a local YMCA. To make a distinct variation from Mitose's Kempo, Chow referred to his art as Kenpo Karate. Throughout the next few decades Chow made many innovations to the system including the use of circular techniques of his Kung Fu, as well as various kata or forms based on the primary linear and circular techniques of his art.

Kempo is a unique martial art having been founded several centuries ago in the Chinese Shaolin temple, thus bringing with it a certain air of mystery. As a martial art, Kempo is referred to as a Do. The Do is referred to in Buddhist Zen scripts as a path towards enlightenment. Lao Tzu, a priest of Taoism said "Mastering others requires force; Mastering the self requires enlightenment.." This phrases sums of the full circle of what Kempo strives towards. Although on its surface Kempo can be seen as a unique form of self-defense, hidden beneath its physical exterior are levels where characteristic centralization of mind and body form. At this level, Kempo's practitioners up from a simple form of fighting to a higher level of ability - a level of enlightenment. Ying Kuchan, a Shaolin monk and master of Kempo after a lengthy period of meditation in a Zen rock garden spoke of Kempo saying "Kempo is the power of adaptability and yielding; the harmony of all things working together."

On the surface, Kempo's uniqueness lies in its comprehensive and diversified means of unarmed defense. Shaolin Kempo Jiu-Jitsu proper is both an armed and unarmed system of combat incorporating applications in varying appearances and method. On an external level, Kempo is a no holds barred fighting system of offensive and defensive methods with equal emphasis of striking techniques with the hands and feet; immobilization and controls; Aikido projections, takedowns and ground-fighting; as well as weaponry both offensive and defensive. Shaolin Kempo is a street wise defensive art that does not restrict its students in methodology. Clawing hands evolve into slashing feet. Cunning joint locks turn into devastating hip throws. Evasive blocks turn into breath closing chokes and jiu-jitsu locks.

The possibilities are endless. The only true fighting systems are those where there are no rules applied. From the books of the Han dynasty we learn "Nothing is impossible to a willing mind." And it is from this saying that we can derive the upper principles of Shaolin Kempo. What sets Kempo apart from boxing, wrestling, and Sunday night football is an emphasis on centralization of body and mind, a concept understood by very few. Many people are quite happy with only the surface value of Kempo, taking its studies for reasons of physical health, self-defense, or a healthy and practical hobby. But for what level of imperfection will you settle for in yourself? If there is more to Kempo why not grasp it. Kempo tries to build a person's psychological persona as well as turning the ego self into the ego less self. The true Kempo is not a means of felling an opponent by force of hand or weapon, nor was it originally intended as a means of arms. Kempo calls for a bringing of inner peace to the self, and the universe around us. A master of Kempo is not only a master of self-defense, but a master of himself. In the end, the direction of Kempo was best described by Bruce Lee when he commented on his vision of Kempo, his "Jeet Kune Do", as "To have no way as a way; To have no limitations as a limitation." Bruce Lee described and taught and understood what Kempo was all about and made a lasting impact on it's direction.

Today the five animals or styles of Kempo have each become refined into arts in their own right. In fact some students are taught only one or two of the animal styles rather than the complete system as each can be very profitable even alone. Examples of well known styles which are branches of the Kempo tree are Aikido (crane), Jiu-Jitsu (leopard and snake), Shotokan and other types of Karate (Tiger), Tae-kwon-do (Dragon), and Kung-Fu (dragon and tiger), especially San-Soo and other newer, more practical forms. New styles are being founded to this day, as Kempo Masters decide to push the art in directions that suit their needs best. Very new versions of Kempo include Jeet-kune-do, the "street" versions of Brazilian Jiu-Jitsu, Krav-Maga and who knows what else...

KOSHO RYU KEMPO - This style of Kempo was brought by visiting monks to the Mitose family in the 15th century. Over the centuries this form of Shaolin Chuan Fa was blended and refined with forms of Jujutsu that where common to the area as well as Rinzai Zen philosophy, Kyudo, and other arts. Kosho, the name of the Mitose clan means "Old Pine Tree", and the Kempo art is referred to as "The Old Pine Tree Style." The current "grandmaster" of Kosho-ryu Kempo is Bruce Juchnik who uses the term Kosho Shoreiryu Kempo to describe Mitose's school of Kempo. Mitose's son Thomas Barrow Mitose also teaches the true for of his fathers art and is considered by some the true grandmaster of the Kosho ryu style.

KARA-HO KENPO - Founded by William K.S. Chow, a student of James Mitose, this Kempo offshoot is a blend of the Kosho ryu Kempo and 5-animal Kung Fu of the Chow Family. Kara-ho Kenpo utilizes many circular as well as linear techniques and requires 500 such techniques to be learnt for black-belt status. Currently, karaho 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. Karaho Kenpo is urrently the fastest growing Kempo organization with currently over 5000 members to its teachings.

SHAOLIN KEMPO - The Shaolin Kempo system was formed by Fred Villari, a student of American and Shorinji kempo systems. Fred Villari's system tends more towards the Kung-Fu element and utilizes the techniques of the 5 animal Chuan Fa to a large extent. Added to the Kempo system was white tiger Chin na techniques as well as various Aikijutsu projections and immobilizations.

AMERICAN KENPO - An offspring of Kara-ho Kenpo. Parker felt that innovations he added to his Kenpo and the fact that he did not work as much on the Jiu-jitsu and Aikido grappling and ground-fighting, mostly leaving it out. Eventually he renamed his Kempo as his American Kenpo Karate. The American Kenpo system can proudly be seen in the moves "The Perfect Weapon", and "Street Knight" starring 4th Dan, Jeff Speakman, one of the heads of the United Kenpo Karate Association and protégé of Ed Parker.

NICK CERIO'S KENPO - Nick Cerio's Kenpo was founded in 1974 and credits both Chow and Parker with the creation of the style. The Cerio Kenpo school believe in the "old method of training", and teaches most of the shotokan forms, kung fu and kajukenbo forms, TKD kicks, Japanese stances, as well as Jujutsu. Weapons of both Chinese and Japanese systems are taught and maintains many traditional forms. Cerio calls Chow his "teacher" and Parker his "coach".

Does Kempo use other weapons besides hands, feet, elbows and knees?
In Kempo schools, defenses against knives and clubs are seen from yellow belt and up, and are considered prime weapons in which to defend against. Kempo also teaches its students how to use weapons to increase their understanding of defense. Weapons that are taught are both Chinese and Japanese in variety and vary widely. Some schools of Kempo teach the 6' staff, while others teach Escrima, and Kali. Weapon training often begins at the green belt level, although in some schools it is restricted to those of black belt level and higher.