As a derivative style of Kajukenbo, Karazenpo Go Shinjutsu draws inspiration from its roots, honoring traditions while adapting to the evolving needs of its students. One area where this adaptation becomes evident is in our kata curriculum. Traditional Emperado Method Kajukenbo includes the Monkey Dance (also known as Palama) as foundational forms, specifically forms 13 and 14. These are developmental kata designed to teach movement, footwork, and stance control. They are simple yet essential.
In our system, however, those lessons are already taught through dedicated drills, such as the Moving Blocking Sets, notably the Eight Point drill, which utilizes half-moon steps. Similarly, stances develop through repetition in the Kaimuki kata and other practice routines. Therefore, rather than duplicate these lessons, we “prune” the curriculum, removing redundancy so that essential techniques can flourish.
I-Pattern Kata: A Shared Foundation
Most traditional Okinawan, Japanese, and Korean systems begin with an I-pattern kata—simple blocks, basic punches, and straight-line movement. Known as Pinan (Okinawan), Heian (Japanese), or Taegeuk (Korean), these beginner forms serve as an introduction to body mechanics and spatial awareness. In Kajukenbo, Monkey Dance 13 serves a similar role, acting as its version of the I-form. Since our school already includes this pattern elsewhere in the curriculum, there was no need to duplicate it.
Naihanchi Sho: The Root of Kenpo Kata
Monkey Dance 11 in Kajukenbo is Naihanchi Shodan, one of the oldest Okinawan kata and widely respected across multiple systems. Grandmaster James Mitose introduced and brought this kata into Hawaiian Kenpo. In many ways, Naihanchi could be considered the true “original” Kenpo kata. Prominent martial arts families such as the Motobu line include multiple variations of this form: Naihanchi Shodan, Nidan, and Sandan. If it was good enough for the Motobu family, it’s good enough for us.
Monkey Dance 14 as Naihanchi Nidan
Rather than adopt Kajukenbo’s original Monkey Dance 14, we chose to continue the Naihanchi lineage by introducing Naihanchi Nidan at this level. It is elegant, challenging, and offers timely lessons for brown belts. It also includes the traditional Mitose-style opening—something I find significant and artistically satisfying. As the final kata in the Monkey Dance series, it makes a fitting capstone.
Jindo and Crane Kata: Filling the Gaps
Rohai (Crane form) replaces Monkey Dance 6 in our curriculum, a form often taught to advanced students in Hawaiian Shaolin Kempo. Through further research, I discovered that both the Pinan and Crane forms originated not from traditional Japanese Karate as previously believed, but from Tang Soo Do. Crane’s sister form, Jindo, offers a complementary skill set. It seemed fitting to include Jindo as Monkey Dance 13, providing appropriate challenge and continuity.
Renaming and Refining: The Kaimuki Kata
To avoid confusion, we renamed our numbered Kempo forms “Kaimuki” kata. Calling something “1 Kata” while all forms are technically kata can lead to confusion among students and instructors. Our term Kaimuki honors the second YMCA Kajukenbo location in Hawai’i and begins with a “K”—making it easier to remember that Kaimuki 1 = 1 Kata, and so on.
Adjustments to Monkey Dance 4, 7, and 8
Monkey Dance 4 felt too short and incomplete. I had an unused kata that better emphasized key techniques for intermediate students, so I combined the two into a new, more useful form. This process mirrors the way I often adapt forms for tournaments—consolidating material to improve function and engagement.
Monkey Dance 7 was unbalanced, so I mirrored the techniques to create a symmetrical and longer kata. Monkey Dance 8 originally did not end where it started—a structural inconsistency. I extended the kata with additional kicking techniques to correct this and increase the challenge.
On Innovation and Responsibility
With these changes, our curriculum at Golden Leopard Kempo (GLK) diverges from the traditional Kajukenbo and Karazenpo Go Shinjutsu (KGS) lines. I accept full responsibility for that. My goal has always been to refine, not rebel—preserving the spirit of our lineage while improving its delivery.
As my instructor once told me, “You have to roll your own.” That means taking ownership of your system, evolving it intelligently, and always keeping the student’s development in mind.
Final Thoughts
We must not make curriculum changes lightly. They require in-depth study, teaching experience, and a clear purpose. Redundancy can strengthen a system through emphasis, but when it becomes excessive, it muddles the art’s character and purpose. Every kata should add something new: a lesson, a concept, a challenge.
So, instructors: What changes have you made to your curriculum, and why? What insights helped you shape the system your students now inherit?
Let me know in the comments.
