In 1962 Robert C. Moore brought the Martial Art Ji Do Kwan Kong Su Do to the United States from Korea. When looking at any "Karate" imported from Korea during the 50’s and 60’s one must look at the Japanese influence. Since Moore was already a brown belt in Shotokan Karate there is no doubt of a Japanese influence.

Some of the Kata Moore was taught in Ji Do Kwan at the time he trained in Korea we still use today. Three Tague and five Pinan. This was verified by Sensei Ted Picturna who was in Korea, training in Ji Do Kwan around the same time.

Once back in the United States, a further influence on Moore’s Ji Do Kwan was Shorin-ryu Karate. A Shorin-ryu Black Belt named Richard Sapp was extensively versed in many kata. Moore and he spent time working together on these forms. Moore’s notes from this time period show that a number of kata he taught to us were Shorin in origin.

Another influence in forms seems to be Shorei Kempo. This would be due to the time spent by Moore in USKA, and a direct influence of Master Robert A. Trias and Master Phil Koeppel.

Moore trained with both men and eventually became Master Koeppel’s student receiving rank in Shorei. He was also still receiving rank promotions from Korea in Ji Do Kwan Karate.

Large or small influence, who knows? Working forms and training for rank will definitely change you and the way you do your techniques. That is why I consider the systems named as influences and they are credited as such.

I would imagine that given enough time I could research back and find what each of the systems Moore studied brought to the table to comprise the art which I studied. Besides wasting time, it would not serve to change a thing.

Of the fifteen kata I employ from White Belt through 1st Brown Belt, eight were used in Korea for sure. That alone is a majority. Four of the seven remaining I instituted myself. That makes eight an even bigger majority. Ji Do Kwan Kong Su Do is my base art. I have no further interest in looking backwards. Forward is what concerns me.

One last influence is Robert C. Moore himself. I understand, through his only Protégé Sensei Paul Ornowski, that the preparation points we use today for our techniques are all Sensei Moore’s.