Martial Arts Philosophy of Michael Mulvihill

Bruce Lee wrote a book called Tao of Gung Fu. In it, we gain ideas that martial artists, in general, can apply. What we are going to do in this essay is examine the common ground between the writings of James Mitose and Bruce Lee, and see how they align with Mitose’s philosophy and principles, as well as with the broader sphere of martial arts. Harmony and balance. What Lee writes could just as easily have come from the founder of Aikido, Morihei Ueshiba. He writes that the idea is not to dominate your opponent, but to achieve harmony with them. This closely resembles the concept of blending found in the teachings of Mitose. When you are attacked, the opponent’s centre line shifts. You must then find a new centre line that conforms to this change. According to Mitose, the head leads this adjustment—where the head goes, the body follows. In other words, you are locating what Bruce Lee refers to as balance. Balance in martial arts comes from the harmonisation of opposites...

Let us explain things simply about Karate so we have no doubts. The word Karate means “Empty Hand.” Its adoption was not necessarily cultural misappropriation or revisionism, but it certainly suited the ideological outlook of modern Japan. Something within this martial legacy had to be reframed so the art could sit comfortably within Japanese national identity. Japan had shifted dramatically in the 19th century. The Meiji Restoration (1868) marked the collapse of the Tokugawa feudal order and the rise of a modern state. Nationalist doctrine intensified: “Rich country, strong army” (Fukoku Kyōhei) State Shinto elevated the Emperor’s divine lineage from Amaterasu Kokutai ideology framed Japan as one sacred family under the Emperor Absolute loyalty and cultural uniqueness were emphasized Within this climate, Karate’s name change from “China Hand” (Tōde) to “Empty Hand” becomes historically understandable. Bodhidharma & Monastic Physical Culture Tradition speaks of the Indian monk Bodh...

One aspect of internal martial arts training — often overlooked in modern practice — is breathing exercise. In Western martial arts culture, breathing training is frequently dismissed or treated as secondary. The emphasis tends to fall on pad work, sparring, strength, conditioning, and visible exertion. Yet this overlooks an essential truth: Combat, whether real or simulated, creates trauma. It does not matter if you are the aggressor or the defender — if you win decisively or are physically overwhelmed. Once you engage in violence, you do not leave the encounter unscathed. The body absorbs impact, but the nervous system absorbs shock. This is where internal martial arts training becomes functional rather than decorative. Breathing exercises are not mystical rituals — they are recovery mechanisms. They regulate the heart rate. They reduce adrenaline saturation. They stabilise the mind after confrontation. In this sense, breathing training acts as a vacuum — drawing up the psychological...

"When unarmed, with the use of Kenpo, one can capably fell an aggressive foe by striking, thrusting, kicking or hurling down and strangling him. Experts claim that nothing can surpass this art.     There are many books  on boxing, judo, jiu-jitsu and wrestling. I believe that this is the first English work on Kenpo. A short explanation of the difference of boxing, judo, jiu-jitsu and wrestling to Kenpo is necessary to a complete understanding of this book.     Wrestling is an art but requires great strength. Jiu-jitsu, rough ly translated, means soft or gentle art in combating an aggressor. Professor Kano made an exhaustive study of jiu-jitsu. He eliminated parts of jiu-jitsu, that were not suitable for his purpose and made the remainder into a sport which is called judo. Judo as taught by Professor Kano, in his school of Kodok wan, is, as he explains, an eclectic system of jiu-jitsu.     The art of judo is divided into four main divisio...

The Beretania YMCA building you are essentially looking at is one of the most historically important locations in Kenpo history. The YMCA in Honolulu is where James Mitose taught Kenpo in the 1940s. From this modest club came students like William Chow, whose lineage later influenced Kajukenbo and American Kenpo. Mitose did not have a dedicated dojo building. His Kenpo school was essentially a club operating inside the YMCA, which explains why photos of a specific dojo room are rare. Historically, this building is important because it is where early figures in Hawaiian Kenpo trained, including: William K. S. Chow Thomas Young From that circle the lineage later influenced: Adriano Emperado Ed Parker Why did James Mitose stop training? The answer is speculative He may have felt his students were unwilling to dedicated enough time to the art to satisfy him. One of his students may have accidentally killed another student causing Mitose to assert that thr students were too focused on the a...

The myth of fudoshin lies in the assumption that composure can be preserved in the face of true, life-threatening chaos. Evidence from warfare and trauma demonstrates that fear can overwhelm even the most disciplined individuals, not as a failure of character, but as a function of human biology. True life-threatening violence exposes a fundamental limitation of the human mind: fear is not a dial we can consciously regulate at will. Under extreme duress, the idea that one can maintain perfect composure—often described in martial arts as fudoshin—does not withstand historical or psychological scrutiny. The evidence is clear in cases such as Shell shock observed during World War I. Soldiers—many of them highly disciplined, experienced, and demonstrably brave—developed profound psychological and neurological symptoms: hysterical paralysis mutism tremors loss of coordination dissociative states These were not signs of weakness or lack of training. They were manifestations of a n...